Joy to the World - Vocal Edition: SATB: Vocal Album

Mozart?s Requiem has entered the realm of myth. This is surely the best-known of all sacred choral works and is performed all over the world. Now a new version for solo voices chorus and organ allows this legendary masterpiece to be performed without orchestra and thus without strain on the budget. The choral writing has been taken unaltered from the Urtext of the New Mozart Edition while the organ part by Martin Focke adheres strictly to the original orchestral writing. The result is a version as convincing as it is self-contained.Franz Xaver Süssmayr?s additions have been used to complete Mozart?s unfinished original.Self-contained version withorgan instead of orchestraIdeal for church services and concert performancesClear and well-presented organ partThe Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.

Five dance-inspired movements for SATB and Piano-Written for SATB choir and piano with optional audience participation Pas de deux is a work consisting of five movements by Paul Smith the co-founder of VOCES8 and author of The VOCES8 Method. The movements can be performed individually or as one complete work. Pas de deux is inspired by the dance duet found in ballet and the music takes the duet element of the dance to create a relationship between the performers and audience enabling interaction between them and giving the option for performers and audience to make music together. Suitable for all ages this piece offers opportunities both to create and to perform informed by Paul Smithâ??s expertise in leadingparticipatory music events with hundreds of thousands of people around the world. A five-movement work inspired by the dance pas de deux Incorporates a wide range of musical styles from contemporary classical to traditional Zulu Encourages a musical interaction between performer and audience Suitable for singers (and audiences) of all ages Incorporates well-known themes from the ballets of Tchaikovsky Paul Smithâ??s Pas de deux is part of the Edition Peters Choral Workshop Series.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that 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 perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. 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 inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

There is a wealth of Christmas repertoire for choirs to choose from and sometimes it is difficult to select which arrangement you want of your traditional carols. It is refreshing when you get a selection which has a new version of a familiar carol plus two carols which you think you should know but donâ??t. This is the case with Joanna Gillâ??s three new carols. â??Sir Christèmasâ? a traditional British carol in the setting by William Mathias has been a popular choice for many years. Yet here is a refreshing new arrangement with the hint of sleigh bells and a choral texture where the melody is passed from voice to voice. The carol builds to a triumphant ending to highlight the fun and merry making to be had at Christmas. Then we have two new original carol settings: â??I heard the bells on Christmas dayâ? with words by the American poet Henry Wadsworth Longfellow. It is presented with a swinging bell like texture and a catchy tune builds to a dramatic ending wishing peace on earth goodwill to men. â??Look to the Stableâ? is a new carol with words by Becca Beschizza a gentle lullaby to the new born baby Jesus praising this event and the Glory of God. This gentle melody is bound to become a favourite with both choirs and audiences.The three carols in this album are going to appeal to the singer with their simple but effective word setting along with the beautiful and well-crafted accompaniments. Furthermore they are going to appeal to the audience and will become a popular feature in many Christmas carol services around the world.

Vecné evangelium / The Eternal Gospel Cantata for Solo Voices Mixed Chorus and Orchestra Leoš Janácek’s great oratorio “The Eternal Gospel” for soprano tenor mixed chorus and orchestra is based on a medieval legend in which an angel announces the coming of the Kingdom of Love on Earth to a Cistercian monk Joachim of Flora. Janácek set the text as a dramatic scene with two characters. The chorus unfolds as a contrasting foil to the two main figures until the final climax when the people sing “Alleluia” and receive the message of the brotherhood of all creation. The Eternal Gospel occupies aspecial place in Janácek’s œuvre. The dream-like atmosphere and emotional force of this twenty-minute cantata cast an unusually powerful spell. It originated during a time of turmoil: Janácek wrote it in spring 1914 on the eve of the First World War and the première took place in Prague in February 1917. In 1924 Janácek revised the cantata yet again for a festive performance on the occasion of his seventieth birthday. The vocal score has been prepared by Leoš Faltus one of the two editors of the volume for the Janácek Complete Edition (series B/volume 4). - Urtext Janacek Complete Edition - Full score (BA6860) and vocal score (BA6860-90) available for sale - Performance material (BA6860-72) available for hire

One Magic Christmas there'll be a world united in peace and love that lasts all year long! This warm and entertaining feature medley celebrates Christmases past present and future. All the great Christmas favorites are here with even a surprise or two! Enjoy the warm nostalgia of An Old-Fashioned Christmas the light-hearted humor of A Rock 'n' Roll Christmas and the holiday wishes of Home at Christmas. Available: SATB Singer's Edition SAB Score SAB Singer's Edition 2-Part Score 2-Part Singer's Edition ShowTrax CD. Performance Time: Approx. 30:00.

An International Holiday Celebration-CELEBRATE December traditions center stage this holiday season as 'round the world we go! DISCOVER the special preparations for Chinese New Year Germany's St. Nicholas Day tradition of a hidden pickle in the Tannenbaum the sevenprinciples of Kwanzaa from our African ancestors the miracle and lights of Jewish Hanukkah the festive atmosphere of Mexico's Las Posadas and Christmas American-style! SHARE the universal messages of peace hope and goodwill inyour school and community all year long. Ideal for upper elementary to middle school performers this 40-minute holiday revue features seven original songs for unison voices with some optional harmony connecting narration easilyadapted to casts of varying sizes and John Jacobson's choreography and production tips. Available: Teacher Edition Singer Edition 5-Pak Preview Pak (1 Singer book 1 Preview CD) Preview CD (with vocals only) Performance/Accompaniment CD Performance Kit/CD (Teacher 20 Singer books P/A CD). Performance Time: Approx. 40 min. For Grades 4-8.

'From the Beginning of the World was commissioned by the Cardinall’s Musick and premiered at Cadogan Hall on the 20th July 2015 in the first of the 2015 BBC Proms Chamber Music Concerts. The concert launched The Tallis Edition a new project by the ensemble with an aim to throw new light on Tallis’s work and part of the commission brief was that my new piece should be a homage to this great English polyphonist. I spent several weeks in libraries attempting to find a suitable text eventually settling on excerpts from Tycho Brahe’s German Treatise on the Great Comet of 1577. Whether Tallis knew about the comet is unknown of course but this seismic event to me seemed emblematic of all the great changes that occurred during his lifetime in areas such as religion the calendar and time-keeping (finding out that Tallis lived out his last days in Greenwich was an extra bonus). The text also seems to speak to contemporary times: whilst Brahe may have thought the comet’s birth would cause the sun to ‘bring unnatural heat’ nowadays we know that its ‘venom [will be] spewed over the lands’ due to mankind’s continued pillaging of the earth’s natural resources. Yet our political ‘pseudo prophets’ prefer to distract us with an austerity delusion rather than confront a reality perpetuated by certain corporations for whom ‘seek[ing] their own honour’ is of primary value. The music itself is very influenced by Tallis and canons and imitation abound. During my time as a ‘cellist at the Yehudi Menuhin School I performed Ralph Vaughan Williams’s Fantasia on a Theme of Thomas Tallis many times and so From the Beginning of the World which also uses Tallis’s Third Mode Melody from the English Hymnal is really a homage to both composers.' - Cheryl Frances-Hoad.