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Mass : Concert Selections for Soloists and Chorus

Doreen Rao's newly adapted and edited concert version of Bernstein's epic theatre piece brings us this monumental music in a shortened and manageable edition for chorus, soloists and chamber orchestra. Rao has maintained the integrity of the Mass form and the dramatic tension between faith and doubt through a 40-minute adaptation of a work that celebrates diversity, inclusion and Bernstein's passion for peace.

Doo

for SSATTB solo voices, Children's Chorus and SSATTB Chorus, a cappella.

And You and I : parts included

for Soprano Solo, Two-Part Children's Chorus, SATB Chorus, Violin, Contrabass and Piano (parts included).

Praises for the nativity

This work may be performed with double chorus, the four solo voices being replaced by a full chorus.

Lo, the Full, Final Sacrifice op. 26 : Festival Anthem

for Chorus and Organ (or Orchestra)

Las Agachadas : The Shake-down Song

for Solo Group and 8-Part Mixed Chorus

Die träumenden Knaben op. 41 : Hawkes Pocket Scores HPS 890

HPS 890 for Mixed Chorus, Clarinet and Bassoon

Sun-Dogs

Five-movement work for mixed chorus a cappella with mutiple divisi and semi-chorus. A setting of a poem by Michael Symmons Roberts (English) with Latin text from the mass and an English traditional rhyme.

Salve, sidus Polonorum op. 72 : St. Adalbert Cantata

for large mixed chorus, organ, pianos, tubular bells, glockenspiels, tam-tams and bass drum

Jubilate Deo

(1999, 4 minutes) SATB chorus and organ with optional brass (3 trumpets, 3 trombones).

Three short Elegies

SATB vocal score of Three Elegies Op.5 by Gerald Finzi for mixed chorus a cappella. Words by William Drummond.

Finding A Husband : Nr. 3 Mutter, einen Mann

Taken from Four Hungarian Folk Songs this lively piece is arranged for Mixed Chorus a capella with English translation by Nancy Bush.

Three Appalachian Songs : for Concert Band and optional Chorus

A Nation of Cowslips : Seven Bagatelles for Unaccompanied SATB Chorus

A set of seven choral pieces based on whimsical doggerel verses by John Keats. Published as separate movements in 1969, this work is now available as a complete set for the first time.

For St Cecilia op. 30 : Ceremonial Ode

For St Cecilia, Ceremonial Ode for tenor solo, chorus & 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 withexultant counterpoint and the saint’s name pealing around the chorus.

Shadowlands : Veni Sancte Spiritus & Sacris Solemniis

More familiar to some as the theme from the blockbuster film Shadowlands, the beautiful Veni Sancte Spiritus and Sacris Solemnius are arranged here for SATB Chorus with Organ Accompaniment.

Prayer : Norn Pater Noster

This is an adaptation made by the composer from the last section of Westerlings, for unaccompanied miexed chorus, which was written for the Uppsala Akademiska Kammerkör to mark the quincentenary of the Universtity of Uppsala.

Little one, sleep

A beautiful and evocative Christmas Carol for Treble Voices with full mixed chorus and Piano accompaniment. This 20th Century treat was written for the Royal Liverpool Philharmonic Society Carol Concerts by Edmund Walters in 1981.

The Song of Shadows

Armstrong Gibbs presents the setting of a text by Walter De La Mare, written for a chorus of upper/female voices with Piano. A serene, undulating part-song with a gentle air of mystery and magic!

Wooing Of A Girl : Altungarisches Volkslied

Wooing Of A Girl is a beautiful song for SSA chorus a cappella. The text is based on an old Hungarian poem which has been translated into English by Nancy Bush. This edition features both the English and the Hungarian text.

Be Thou My Vision : Traditional Irish Tune

The well-known traditional Irish hymn is here thoughtfully arranged for wind band and optional vocal/choral part. The setting captures the humble, yet majestic, simplicity and deep faith represented by the hymn text, while providing an exceptional opportunity for combining band and chorus.

Festival Te Deum Op.32

Britten did write extensively for chorus, but set standard liturgical texts on three occasions only (not counting his highly unorthodox War Requiem): First an early Te Deum (1935), to which he appended a Jubilate in 1961, and thisFestival Te Deum, composed for the 1944 centenary of St. Mark's Church in Swindon. Despite the mostly Latin title, this work employs an English translation of the usual text. Britten also maintains some degree of musical tensionthrough this work (or perhaps comments on the staid, unchanging nature of the church) by restricting the organ to a steady dotted-half-note accompaniment, even while the chorus widely enjoys varying tempi.

Learn As You Play Clarinet : Concert Pieces

Piano Accompaniment Contents: Granite (Cole) · Chorus from Paris and Helen (Bluck) · Humming Song (Schumann) · An Old Tale (Szelényi) · German Dance (Haydn) · Midnight in Tobago (Wastall) · Minuet and Trio (Beethoven) · Largo fromSonatina No. 3 (Telemann) · Air from Der Freischütz (Weber) · Suburban Sunday (Cole) · Carol from Five Bagatelles (Finzi).

Nativity News : A Christmas Cantata

Nativity News is a tremendously fun Christmas cantata for young voices which tells the story of the birth of Jesus through the eyes of those well-known characters. From a chorus of rumbustious shepherds to the villainous Herod,they are there, but with a difference! Also available in economy 10-Pack: 48011659

Six Children's Choruses : (complete)

These songs were originally written for unaccompanied chorus. Later an orchestral accompaniment was added, and a piano reduction has been included for rehearsal purposes when preparing the choir for a performance with the orchestra. It is the composer's intention that performances should take place either a cappella or with orchestra, but not with piano.