Gloria - SATB

Missa O Rex gloriaeited by David Trendell is an exquisite and previously unpublished setting of the mass by the Spanish composer Alonso Lobo (1555-1617).

A Simple Gloria by Libby Larsen for SATB unaccompanied.Offprinted from An American Christmas this is a serene setting of a macaronic text by M. K. Dean describing the song the angels sang for the birth of the Christ-child.

Traditional Latin-Movement three from Hyo-Won Woo's Gloria 'Cum Sancto Spiritu' combines western musical concepts with the traditional Korean musical scale and rhythmic patterns. An incredibly dynamic setting of this well-known Latin text. This work for unaccompanied SATB choir is part of the Hak-Won Yoon Choral Series.

Réduction pour piano & chant-Francis Poulenc's 6 movement Gloria for Soprano and Mixed Choir with a Piano reduction of the original orchestral material.

The Latin text from the Ordinary of the Mass for mixed voices, brass (4 trumpets, 2 tenor trombones, bass trombone, tuba), percussion, and organ. An accompaniment for symphony orchestra without organ is also available Full scores, vocal scores, and instrumental parts are available on hire. The first movement of Gloria is available separately under the title Gloria 1. Forces or Category SATB & brass, percussion, & organ/orchestra Duration 18 minutes Difficulty Moderately difficult Orchestration Brass: 4 tpt, 3 tbn, tba, timp, 2 perc (side drum, susp cym, glock, xylo, crash cym), org Orchestra: 2 fl, 2 ob, 2 cl, 2 bn, 4 hn, 3 tpt, 3 tbn, tba, timp, 2 perc (glock, xylo, side drum, susp cym, crash cym, tamb), hp, str

Le travail interprète d'une manière sensible l'effet Pape Frances, qui a été élu en Mars 2013, a sur les gens. Basé sur trois chansons folkloriques argentines, la masse de ses parties, silencieux et puissants suscite des sentiments d'exaltation. L'éveil et la joie causée par le pape Francis depuis son élection est représenté dans le 'Gloria'. Un travail varié, mais respectueux qui se propage cet hommage à un grand homme partout dans le monde. / Choeur Mixte (SATB) A Cappella

Antonio Vivaldi's Gloria in D RV589 for SATB and Piano.The Gloria in D Major RV 589 is Vivaldi's most famous sacred work and it is among his most important church music compositions. An independent work in one movement it was probably composed between 1713 and 1717 for the Ospedale della Piet one of the orphanages of Venice in which young girls received a thorough musical training. The musically representative work is divided into 12 sections which differ in scoring movement type key and expressed emotions.

Vivaldi's international renown came about largely as a result of his concertos which were collated and of course performed throughout the courts of Europe. Quite unlike the concertos Vivaldi's voluminous output of sacred works was hardly known beyond the purlieus of their original performance. Following the composer's death they became increasingly unknown and even today it is difficult to say how many pieces of church music Vivaldi composed.As few of Vivaldi’s church compositions can be dated on the basis of written or stylistic evidence the origins of the Gloria In D remain shrouded with conjecture.Rather than being conceived aspart of a larger Mass setting the Gloria is an independent work a cyclical composition of broad design consisting of twelve self-contained movements. Stylistically it closely resembles a concertante Mass.This Urtext edition of Vivaldi’s ever-popular work provides you with an accurate realisation of the composer’s original intentions with thoroughly detailed editorial markings and suggestions as edited by Klaus Burmeister.

Johannis Cantabrigiense-Nico Muhly's Third Service (Magnificat & Nunc Dimittis) is a work for SATB Choir and Organ Accompaniment. Commissioned by the Master and Fellows of St John's College Cambridge it was first performed by St John's College Choir on 29th May 2016. A full performance lasts around 7.5 minutes. 'The American composer Nico Muhly has often spoken of his love of the early English church music which he sang as a choirboy and his recent choral works include a Third Service composed for St John's College Cambridge. (Given his love of music by Thomas Weelkes we can perhaps hope for at least six more.) This setting though has nothing to do with the early English repertoire and is in a bold modern idiom more akin to Tippett's famous setting for St. John's. The Organ plays a varied and independent role throughout sometimes with dynamics that are quite different to those in the voice parts. The Organ part is sometimes written on two staves without further comment and it's not entirely clear what is required between pages 3 and 4 where three staves become two. The vocal parts include some modest vocal effects and there are Soprano and Alto solos in the Nunc dmittis. The Gloria of the Nunc is a varied repeat of the Magnificat Gloria together with a subtly reworked conclusion to match the general mood of the movement. - Geoffrey Webber Choir & Organ Magazine 

Ed. critica di Alessandro Borin - ril. brochure-La Gloria E Imeneo RV 687 belongs to a group of so-called ‘French serenatas’ by Antonio Vivaldi namely a series of works composed and performed between the mid-1710s and mid-1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy.This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice Jacques-Vincent Languet Count of Gergy on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska and was performed during a festa that took place inthe ambassador’s garden on the evening of 12 September 1725.This critical edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata the state of the sources and its musical content. The critical edition includes an apparatus that records all the variants between the autograph score and the secondary collate sources and a diplomatic- interpretative edition of the poetic text inferred – since no libretto has come down to us – by the words underlaid to the notes in the manuscript of the serenata.