6 Sacred Choruses. SATB Acc. (Cps) (BRUCKNER ANTON)

There is no rose may be considered as having three distinct but musically interlinked phases. The first is reflective in nature a set of musings on the mysteries of Mary as the Mother of God the nature of God Creation and the Trinity; the music lends a sense of the rising expectation appropriate to the season of Advent. This increasing tension breaks out into the angelic chorus Gloria in excelsis Deo a brief glimpse of something other which is then echoed by the fading repetitions of Gaudeamus (we rejoice). Finally the poem moves on joining the procession towards Christmas; a new key the expanding range and Transeamus (we go/proceed/cross over) fading intothe distance serve to provide a musical metaphor for the journey.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering 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. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Andrew Cusworth (b.1984) read music at Magdalene College Cambridge where he was also an Organ Scholar. Recent compositions include Factum est silentium for double choir and organ which won the first New Music for St Paul’s Cathedral Composition Competition and Give ear O ye heavens which was shortlisted for the King James Bible Trust Composition Awards. 'This is a piece whose effect greatly exceeds its simple means and it would be welcome in any serious carol service.' - Jeremy Summerly Choir & Organ

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

The Vocal score for John Tavener's beautiful work Lament For Jerusalem arranged for Soprano Countertenor and SATB Chorus with a Piano Accompaniment. This score can be used for both the 'Original'and 'Jerusalem' versions of the work. The composition was commissioned by Father Arthur E. Bridge OAM for Ars Musica Australis and was first written in 2002. The 'Jerusalem' version was arranged for theChoir of London in 2004. Tavener himself calls the work 'a mystical love-song' that reflects the 'mystical sacred and sublime nature of the texts'.  Lament For Jerusalem isdivided into seven stanzas each of which contain Christic Judaic and Islamic inspirations making this work truly innovative and interesting. The piece is around 45 minutes long and it is recommended to be performed in a spacein which there are generous acoustics that will allow each individual voice as well as the collective whole to 'breathe' and dissolve into the air.  The work is a wonderful one receiving greatcritical acclaim upon its premiere and impressing audiences the world over for its soaring Soprano melodies and its left-field Middle-Eastern harmonies. The composition is one in a long line of Tavener pieces thatimmediately silences audiences and captivates their attention throughout.  Any performance of Lament For Jerusalem is guaranteed to be a special event and one that audiences willremember for a long time.

This setting of the famous work ?O Filii et Filiae? by Volckmar Leisring is a festive setting appropriate to both sacred and secular performances especially festival concerts using several choirs. Featuring a newEnglish text and keyboard accompaniment this is an accessible piece for SSA double chorus or SATB/SSA. Performance Time: Approx. 2:20.

Features of the Barenreiter Urtext edition of Beethoven's Mass In C Major:Score with realisation of the Organ partBilingual Foreword (Eng/Ger) and Critical Commentary (Eng)Straight-forward Piano reductionFull score and performance material (BA9039) and Vocal score (BA9039-90) available for saleAmongst Beethoven’s sacred works are two settings of the Mass. The Mass In C Major was completed and premiered in 1807 and has been unjustly described as a preliminary step towards the great Missa solemnis. Yet it is a self-contained and for its time distinctly modernpiece of sacred music.Beethoven specialist Barry Cooper has drawn on a rich body of sources to suggests practical solutions to the work’s musical and interpretative problems. His in-depth study of the sources convinced him to include a fully realised Organ part in the score just as Beethoven envisioned it for the first printed edition. As stated in the original sources the parts for the soloists and choir are notated on joint staves to demonstrate that the soloists are also to sing the choral passages.This Barenreiter Urtext edition is rounded off with a foreword on the work’s genesis and a detailed critical commentary.

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. O Saving Victim was completed on 16th March, 2003, and was premiered by the choir of St Mary's Church, Goochland, VA, directed by Hope Armstrong Erb. The solo lines in this piece should blend with the rest of the chorus as much as possible. In large choirs, the solo lines in bars 21-22 and 26-30 may be sung by a pair or small group of people to preserve balance. This does not apply to the unaccompanied solos in bar 30-35. Zachary Wadsworth's 'vivid, vital, and prisimatic' music has established him as one of the leading composers of his generation, especially among those writing vocal, choral and operatic works. As winner of the 2011 King James Bible Composition Award, Wadsworth's anthem Out of the South Cometh the Whirlwind was performed by the choir of Westminster Abbey in the presence of Queen Elizabeth II. Other recent honours include awards from the American Academy of Arts and Letters, ASCAP, and the American Composers Forum, and performances by the Washington National Opera Chorus, Boston Metro Opera, Long Leaf Opera, the Buffalo Philharmonic Orchestra, and the Atlanta Philharmonic Orchestra. Wadsworth's music is widely broadcast and distributed, with a recent commission from Choir and Organ magazine, and frequent airings on the BBC, NPR and CBC. / Choeur SATB

Par BRUCKNER ANTON. Anton Bruckner's Te Deum - a high point in the composer's output and one of the most important works of the sacred choral repertoire in the 19th century - is now available in a modern, scholarly edition. The Carus edition draws on both the two sources regarded as important, the autograph score and the first printed edition, with careful consideration given to variant readings. And so a music text has been prepared which reflects the composer's intentions as closely as possible. Great emphasis has been placed on a clear-to-read layout of the full score pages, as well as excellent legibility for the parts, which are available on sale. With current performance practice in mind, the clarinet parts are notated in B flat instead of A, corresponding with the first printed edition. The vocal score has been newly prepared to reflect current practical requirements. As an economical alternative, a chorus score is available. Bruckner's Te Deum is also available in carus music, the choir app. The app contains the music and a recording, as well as a coach to help with learning each choral part. In preparation: arrangement of the Te Deum for soli, choir, brass quintet and organ./ Répertoire / Choeur Mixte (SATB) et Piano