Benjamin Britten: Britten For Organ: Organ: Instrumental Album

Britten's Jubilate is written for SATB choir and Organ accompaniment.Benjamin Britten's birthday (22nd November 1913 Lowestoft) falls on St. Cecilia's Day a happy augury for the career of one of Britain's greatestcomposers. Essentially a vocal composer Britten won international fame for his operas and song-cycles. He never abandoned the principles of tonality and was a 'modern' composer who reached a mass audience and a conservative whoseoriginality no radical would sensibly deny. He shared with his predecessors Parry Vaughan Williams and Holst an intense interest in works for amateurs and children. His brilliant gifts as a pianist and conductor coupled withhis virtuosic inventiveness also led him to compose music for great performers such as the cellist Mstislav Rostropovich and the singers Galina Vishnevskaya Dietrich Fischer-Dieskau and Janet Baker.The greatestpersonal influence on his music was the Tenor Peter Pears for whom he composed many operatic and vocal roles. In 1948 Britten Pears and Eric Crozier founded the Aldeburgh Festival now one of the most respected established fornew English music. In 1952 he was made a Companion of Honour in 1965 received the Order of Merit and in 1976 the year of his death he became the first composer to receive a life peerage.Oxford University Press wasBritten's first publisher. In the early 1930s A Boy Was Born and the Simple Symphony brought him great critical acclaim and launched his compositional career. Oxford is delighted to present some previouslyunpublished pieces in collaboration with the Britten Estate. These include the Double Concerto for Violin and Viola premiered at Snape by the Britten-Pears Orchestra under Kent Nagano in June 1997; Two Portraits forString Orchestra premiered on BBC Radio 3 in December 1995 by the Northern Sinfonia under Martyn Brabbins; The World Of The Spirit the full version first performed in 1938 on the BBC Home Service the abridged

Thema Variationen und Fuge-Inspired by Benjamin Britten's The Young Person’s Guide To The Orchestra Harald Feller wrote this work for Organ and narrator. By combining musical technical and tonal possibilities of the Organ he wants to arouse the listener's interest and enthusiasm for Organ music and make it accessible to a wide (not just young) audience.This work of about 20 minutes' duration can also be performed without narrator.

The lesser known of Britten’s settings of Psalm 100. Jubilate Deo was intended as a companion piece to the Te Deum In C and is an exuberant joyful song. The piece remained unpublished until after Britten’s death. Arranged for SATB Choir with Organ accompaniment.

Alba is one of Bennett’s serialism-tinged works that also touches on medieval rhythmic modes. He based the work on the Tema Seriale from Cantata Academica by Benjamin Britten to whom Alba is dedicated. It is a demanding and rewarding piece for performer and listener.Composer performer and arranger Richard Rodney Bennett was internationally respected for his serious music and many award-winning film scores (Murder on the Orient Express Nicholas and Alexandra) as well as his works for children and his religious pieces. In addition this markedly versatile musician frequently performed as a jazz pianist. On his move to the United States the two sponsors for his green card(work permit) were Leonard Bernstein and Stephen Sondheim.

This work was composed for the twentieth anniversary of the United Nations and requires a large adult chorus of men and women and a smaller children’s choir placed separately with its own conductor and optional organ accompaniment.

Britten's Te Deum In C is arranged for Treble (Soprano) solo SATB choir and Organ accompaniment.In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clearthat there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor: different articulation and dynamic markings something Britten was later very fussy about but perhapsleft unchanged on proof because of his relative inexperience at this stage of his career with the processes of music publishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected in the new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal scoreto prepare his orchestral version).The two versions have been made consistent in other details - rehearsal cues and bar numbers for example - since Britten intended choristers to use the vocal score to perform theorchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (a rare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in theorchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated string writing while the spacing of chords is frequently much wider in the string version with melodiestransposed into different octaves.Although harmony in both versions is identical voice leading is sometimes altered in the latter to make it better suited to the idioms of the instruments concerned. So although inessence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither be viewed as an occasional piece nor considered solely a liturgical work like many of his

This is the Vocal Score of Britten's Festival Cantata for Treble Alto Tenor and Bass soloists Choir and Organ. The text is a setting of words by Christopher Smart written whilst committed to an asylum. It is an exemplary work that reflects a deeply religious motif with the theme of the worship of God by all living beings and things each in their own individual way.

Words from the Gradual of the Feast of St. Peter and St. Paul-Hymn To Saint Peter was written for the Quincentenary of St. Peter Muncroft in 1955. the text is taken from the Gradual of the Feast of Saint Peter and Saint Paul. This is the Vocal Score for SATB Chorus and Organ accompaniment.