POD-Klar Op Vort Mod Lys For Vor Fod was composed by Sunleif Rasmussen in 2016. Scored for Soprano and Baritone soli Choir SATB and Baroque Ensemble with lyrics by Helle S. Søtrup.Commissioned by the festival 'Himmelske Dage' Copenhagen.

Brought together for the first time a comprehensive collection of timeless Christmas choruses newly engraved for mixed Voices. The Greatest Christmas Choruses encompasses an array of contrasting moods the grand the joyous and the ceremonial from the dramatic to the intimate or spiritual the Baroque the Romantic and the contemporary. Selected with introductory notes by Brian Kay.

Out of the Ruins touches on Gregorian chant and sacred music of the Baroque. This is a slowly evolving requiem that draws on Armenian traditions with no hint of Nyman’s signature propulsive rhythms.Some of the music can be heard in different form in Nyman’s third Quartet and the soundtrack for Carrington. In 1988 Armenia suffered a devastating earthquake in which caused widespread destruction and killed more than25 000 people. BBC director Agnieszka Piotrowska asked Michael Nyman to write a work to accompany a documentary she was making for the first anniversary and offered text from 10th century poet Grigor Narekatsi’s Book ofLamentations. Nyman is a contemporary British composer of richly layered modular minimalist pieces often incorporating period instruments or instrumentation outside the normal Orchestral offerings. He isparticularly well known for his film scores including The Piano The Cook The Thief His Wife and Her Lover Prospero’s Books and The Claim among many others. His work is widely performed and recorded.

Now Thank We All Our God was a hymn first written by the German priest Martin Rinkart in the 1630s. It has been adapted many times over the years most famously by Mendelssohn as a hymn tune. The version here was created as the third movement of Bach's Cantata BWV 79 (The Lord is a Sun and Shield) written for Reformation Day in 1725. It has been arranged for SATB choir with keyboard accompaniment presented here with the popular English text.J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. He spent most of his life working as an organistand choirmaster and wrote many ecclesiastical works.

Set of parts for Pelle Gudmundsen-Holmgreen's No Ground Green for Mixed Choir (SATB) and String Quartet (2012). Score: WH31464 Programme note: New Ground – No Ground – Green In 1986 I wrote Ground for the Kronos Quartet. I used the principle of the baroque ground and created a series of chords – going up and going down symmetrically. The material formed the basis for the quartet. In my next collaboration with Kronos I wrote the darker Last Ground – at the time supposed to be my last composition of the kind. After some years this seemed a bit pathetic and I decided to write a new– lighter ground –New Ground. To disappoint my listeners as much as possible I based this piece on a very old and very well-known ground: Pachelbel’s Canon.  The piece is tonal and that suggested another –atonal – composition – No Ground (based on another string quartet – no. 7 Parted from 1984 first performed by Kronos). I am very fond of the elaborated constructivism of the medieval or early renaissance music so in my view the two new quartets needed to be connected and combined. The two quartets can be performed in combination with the four-part vocal piece Green. The text is from medieval England. The pieces are written for the Kronos Quartet and Theatre of Voices.

A Baroque-like setting makes this hymn standard come alive with rhythmic vitality and harmonic interest. Available separately: SATB ChoirTrax CD. Score and Parts for Strings available digitally (88442). Duration: ca. 2:25.

Missa Cellensis Hob.XXII:8 'Mass for Mariazell'Urtext: J. Haydn Werke Henle Verlag Score containing alsoMissa brevis Sti Joannis de Deo (Little Organ Mass) (Hob.XXII:7)Missa in Tempore Belli (Pauken Mass) (Hob.XXII:9)Missa Sti Bernardi von Offida (Heilig Mass) (Hob.XXII:10)Appendix: Inter alia the version of the Gloria from (Hob.XXII:7) from Michael HaydnIn March 1781 one of Haydn’s friends Anton Liebe a member of an old and distinguished Austrian military family was raised to the nobility. He seems to have asked his friend Joseph Haydn to write a festive “thankoffering” in the form of a Mass for the famous pilgrimage church of Mariazell in Styria. Haydn began the work in 1782 and recently the original parts to the Missa Cellensis were found in the organ loft of the splendid baroque church at Mariazell.Haydn’s “Mariazellermesse” has always been one of his most popular works. The “Volkstümlichkeit” (which one might translate as “down to-earthiness”) the miraculous fusion of polyphonic forms with the language and form of the Vienna classical school – note that the Kyrie is in sonata form with shortened recapitulation and coda – the brilliant orchestration to which the trumpets and drums contribute so much festive joyousness: all these have won the hearts of audiences everywhere whenever the Mass was given.- Urtext from Joseph Haydn Werke- Full score parts and vocal score available for sale

Here's an indispensable collection of introits, responses, and benedictions from the Medieval, Renaissance, Baroque, Classical, and Romantic Periods. Carefully and skillfully edited and arranged by Patrick Liebergen, this book is filled to the brim with the music of Handel, Telemann, Purcell, Mozart, Liszt, and more. A mixture of voicings is included as well. Each selection is short and easily learned, yet dynamic and filled with joyful singing! / Choeur Mixte (SATB)

Vivaldi's Kyrie RV 587 (BA 8950) is scored for two choirs and two groups of stringed instruments. The date of its composition remains unclear. It is a purely a Choral work without solo passages.Today the ?Gloria? RV 589 (BA 7674) is one of Vivaldi?s best-known compositions and one of the most frequently performed sacred Vocal works from the Baroque period. Vivaldi wrote the ?Gloria? as a self-contained work in the style of a concertante mass. However it was probably also performed within church services. The scoring of the solo voices (SSA) suggests that the work was written during his period atthe Ospedale della Piet around 1716. In the twelve movements of the ?Gloria? Vivaldi displays the whole range of his mastery from festive sublime outer movements to tender transparently scored solo passages.Both works can be performed independently but can also be combined as a kind of short mass. Although the authenticity of the autograph manuscript score is beyond doubt these new editions contain some re-evaluations in phrasing and performance practice which go beyond what other editions have to offer. The Piano reductions are straightforward clearly presented and preserve the character of the works.- Attractive choral pieces which can be combined to form a short mass.- Informative foreword (Ger/Eng).

The composer states:'Nightfall is an incantatory piece inspired by how light changes at the end of a day: the adding and subtracting of colours and shadow- the slowly building and diminishing dynamics- the shifting texture as the sun intensifies and then disappears over the horizon.Nightfall should be sung without vibrato so that the vocal colours and their translucent quality remain pure and clear. Recalling Baroque passacaglia procedure, the bass line underpins the entire work.Nightfall requires a chorus of no less than 26 voices with at least two basses. It's important to keep the parts balanced as the texture thickens so that all the lines are always clearly heard.? / Choeur Mixte A Cappella

This is hilarious! Ellen Foncannon has created a clever parody on Bach's famous Fugue in G Minor that will have your audience in stitches! Your students will have a blast singing such funny words with such serious Baroque music which has been simplified for young voices. From the first note to the resounding A-Choo! at the end this uproariously funny novelty is sure to be a big hit in your concert! Available: SATB SSAA TTBB 2-Part 3-Part.

Few baroque composers were ever able to create work as sunny as joyous as Vivaldi did in this beloved Gloria. The contrast of mood throughout the work as it moves through the drama of the Mass to its satisfying double final movement shows the composer at the height of his powers.Vivaldi composed this work in Venice in about 1715 during his fruitful time at the Ospedale della Piet . In his lifetime this priest composer and virtuoso Violinist achieved enormous musical success. Considering his great popularity in the modern era it is difficult to believe that public appreciation of his work declined after his death and that the Gloria languished undiscovered forcenturies. It wasn’t until 1957 that the restored work was heard again in its entirety. Since that time this moving and joyous Gloria has been recorded more than one hundred times and perennially appears on concert series around the world.

Uses: Advent Scripture: Micah 5:2 Luke 2:4-6 John 7:42 Adorned with a graceful Baroque spirit this concept piece joins the O Little Town of Bethlehem text with the Coventry Carol tune and creates a new Advent choral offering. A stunning a cappella middle section offers contrast and adds a shimmering beauty to the arrangement. A true joy to sing and play this selection is a welcome addition to the repertory. Polished! Score and Parts (fl ob vn 1-2 va vc db) available as a digital download.

from Uns ist ein Kind geboren-Originally attributed to J. S. Bach (Cantata BWV 142) this work is now thought to be by German composer and organist Johann Kuhnau who preceded Bach as cantor at the Thomaskirche in Leipzig. This joyful contrapuntal movement isan excellent introduction to the music of the Baroque and is ideal for Christmas and other concert occasions.

Few baroque composers were ever able to create work as sunny as joyous as Vivaldi did in this beloved Gloria. The contrast of mood throughout the work as it moves through the drama of the Mass to its satisfying double final movement shows the composer at the height of his powers.Vivaldi composed this work in Venice in about 1715 during his fruitful time at the Ospedale della Piet . In his lifetime this priest composer and virtuoso Violinist achieved enormous musical success. Considering his great popularity in the modern era it is difficult to believe that public appreciation of his work declined after his death and that the Gloria languished undiscovered forcenturies. It wasn’t until 1957 that the restored work was heard again in its entirety. Since that time this moving and joyous Gloria has been recorded more than one hundred times and perennially appears on concert series around the world.