Georg Friedrich Händel: Praise! Praise!: SATB: Vocal Score

Hal Hopson's adaptation of “Praise the Lord” from Handel's Judas Maccabaeus is a standard in most choral libraries. Now he gives us another performance option with his two-part version. This majestic andtriumphant song of adoration is now accessible to all choirs for any number of festive occasions. Available separately: SATB TTBB SAB 2-part.

Hal Hopson's adaptation of “Praise the Lord” from Handel's Judas Maccabaeus is a standard in most choral libraries. Now he gives us another performance option with his two-part version. This majestic andtriumphant song of adoration is now accessible to all choirs for any number of festive occasions. Available separately: SATB TTBB SAB 2-part.

'Praise The Lord With Harp And Tongue' set for double choir with piano accompaniment.

O come let us sing HWV 253 Chandos Anthem No.8Handel’s three anthems (My song shall be alway HWV 252 O come let us sing HWV 253 O praise the Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the “Chandos Anthems” from the owner of the estate the First Duke of Chandos.The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London – a standard procedure for this composer who reusedparticularly successful pieces as starting points for his later works. The scoring for solo voices chorus oboe strings and continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for “O come let us sing unto the Lord”.The anthems present the Urtext from the “Halle Handel Edition” and include uncomplicated and easy-to-play Piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.- Full score & parts (BA4293) and vocal score (BA4293-90) available for sale

Handel?s three anthems (My song shall be alway HWV 252 O come let us sing HWV 253 O praise the Lord HWV 254) were composed in 1717 and 1718 for Cannons a country estate near to London. They take their nickname the ? Chandos Anthems? from the owner of the estate the First Duke of Chandos .The three pieces are noteworthy for their festive character and their varied orchestral accompaniment. Handel borrows older material from his Italian period and his earlier works for the Chapel Royal in London a standard procedure for this composer who reused particularly successful pieces as starting points for his later works. The scoring for solo voices chorus oboe strings and continuo was tailored to the musical resources of the small country estate. Two additional recorders are needed for ?O come let us sing unto the Lord?.The anthems present the Urtext from the ?Halle Handel Edition? and include uncomplicated and easy-to-play piano reductions. In addition to the original English words the full scores and vocal scores also include a singing translation in German.?The clarity found in these Bärenreiter scores and the excellent keyboard reductions make them very attractive for performers.?(Church Music Quarterly Sept. 2008)

The Funeral March is composed in C and proceeds at a grand and stately pace. The Flute duet provides an excellent contrast to the majesty of the piece.Handel’s great oratorio of 1739 Saul was conceived on a grand scale to tell the Old Testament story of King Saul David the slayer of Goliath and Saul’s son Jonathan. By the end both Saul and Jonathan have been killed and this moving funeral march marks that sombre moment in the oratorio. Saul is considered one of Handel's greatest works with particular praise for the Choral writing and for this funeral march.