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Suitable for Unison with optional descant and piano or orchestra. The orchestral accompaniment for this version is not compatible with that for the SATB and SSAA versions.
for SATB and organ or chamber orchestra or string orchestra
Offprinted from the anthology Opera Choruses, this is a short piece from Madama Butterfly. It is set for ST and piano or orchestra.
This collection gathers together nearly sixty of the finest examples of the secular choral repertoire into one volume. Due space is given to the magnificent sixteenth century madrigals of England and Italy, with favorite works by Gibbons and Morley placed alongside less familiar selections by Lassus, Marenzio, and Weelkes. German and French pieces are also represented, for example, with Passereau's ever-popular Il est bel est bon. Works by Haydn and Schubert lead to the nineteenth century repertoire, which includes Brahms's lovely Nachtwache, from Five Songs, Op. 104, and Pearsall's exquisite Lay a Garland. The survey is completed by Debussy's Trois Chansons de Charles D'Orleans and examples of the glorious outpouring of English Romantic partsongs, with works by Elgar, Parry, Stanford, Britten, Finzi, and Vaughan Williams. Ranging from the late fifteenth to the twentieth century, and spanning all major European countries, this is a masterly survey suitable for all choirs. Clifford Bartlett has prepared completely new editions of all pre-twentieth century pieces, going back to the earliest and most reliable manuscript or printed sources. English translations are provided to aid understanding, with playable keyboard reductions in every case.
Suitable for SSAA and piano, this work contains a simple carol which is suitable for upper voice choirs.
Set for SATB with divisions, unaccompanied Chilcott's, this setting aims to capture the mood of painful introspection that infuses the spiritual.
for double SATB choir unaccompanied John Rutter wrote this anthem for the dedication of the Herbert Howells memorial window in Gloucester Cathedral in 1992. The first section is full of mystical intensity, and, with its iridescent chromatic harmonies is reminiscent of Howells's own music. After a more lively central section, the finale is ingeniously written and incorporates both the chorale melody and the opening motif.
for SATB and keyboard, ensemble, or small orchestra A Dixieland style arrangement which would make a rousing concert finale or encore. There are two accompaniments available on hire - for small ensemble and chamber orchestra.
Moira Bennett worked at the Britten-Pears School in its hectic heyday in the 1980s. She charts its forty-year history, embodying its founders' initial vision of a bridge between conservatory and career for gifted young musicians, from ad hoc classes in a grainstore at Snape, to an annual calendar of non-stop courses for singers, string players and ensembles in its own building and fully staged operas in the Maltings, to its current incarnation as the Britten-Pears Young Artist Programme. Some of the most eminent teachers from Europe, the United States and beyond have come to teach at Snape. These include founder-director Peter Pears, Hans Hotter, Joan Sutherland, Galina Vishnevskaya, Jacqueline du Pre, Mitsuko Uchida, Mstislav Rostropovich, Ton Koopman, and members of the Amadeus Quartet. This authoritative and anecdotal historical survey of the work of the School is generously illustrated and studded with quotations from many faculty members and former students.
for unison upper voices and piano or organ or lower strings, percussion, and harp A short, simple, but joyful piece that never raises its voice above piano.
Suitable for SATB and piano or orchestra, this is a setting of a Catalonian carol.
Norman Platt was seized by music at the age of five as a boy in industrial Lancashire, played professionally at the age of nine and made music in one form or another until his death in 2004. He sang in the choirs of King's College Cambridge and St Paul's Cathedral, was a founder member of the legendary Deller Consort and toured with Britten's English Opera Group. He was a principal at Sadler's Wells and broadcast regularly with the BBC. Yet, as the Times obituarist wrote, "Norman Platt was probably as famous for his battles to save Kent Opera in the 1980's as he was founding the company in the first place in 1969. His was a long and thankless battle against the Arts Council, which had decided by the end of the 1980's that the country had one opera company too many. Unfortunately his outspoken attacks on funding policies made him enemies in high places, which left the company vulnerable when the axe fell."Making Music, warmly received on publication in 2001, is the story of Norman Platt's life in music. At its heart is the story of the Kent Opera, which featured conductor Roger Norrington, directors like Jonathan Miller and Nicholas Hytner, and singers of the calibre of Jill Gomez and Felicity Palmer. It will be essential reading for anyone interested in the realities of the arts in the modern world.
74 of the most popular items from Carols for Choirs 1, 2 and 3 in one volume, plus 26 pieces new to the series. The volume contains both accompanied and unaccompanied items, and the Order of Service for a Festival of Nine Lessons and Carols. Orchestral and brass ensemble accompaniments for many of the items are available on hire.
An easy carol for unison voices and piano or strings A simple yet subtle and thought-provoking text, written from the perspective of a child present at the Nativity, communicates the wonder of Christ's birth. Orchestral material is on hire.
With over thirty years as a record company sales rep, Graham has collected a vast number of funny stories and anecdotes. He relates the best of them here, as told to him by those behind the record shop counter. This unique collection of "I'll-hum-it-have-you-got-it?" and similar stories is an engrossing memorial to an increasingly bygone age.
for S(S)ATB unaccompanied Three Shakespeare Songs comprises three short movements setting texts from Shakespeare's The Tempest and A Midsummer Night's Dream. They were composed as test pieces for the 1951 British Federation of Music Festivals National Competitive Festival. The atmospheric first movement, 'Full fathom five', is mystical and beguiling, with eerie, hypnotic mimicry of bell tolls in the upper voices. 'The Cloud-Capp'd Towers', the slower central movement, recalls Vaughan Williams's Symphony No. 6 in its harmonic language, while the third movement 'Over hill, over dale' is lively conclusion to the set, full of harmonic and rhythmic interest.
Suitable for SATB and organ. This work contains a carol, using jazzy rhythms and constant shifts of key.
Suitable for SATB (with divisions) unaccompanied, this carol is set to a poetic text that is inspired by verses from St Luke's Gospel. The poem foretells not only of Christ's birth, but also his death; the contrasting, bittersweet emotions it portrays are captured perfectly by the wistful melody which prevails throughout.
for SSAA and organ, or orchestra, with words and music by John Rutter The orchestral material is the same as for the SATBarB version.
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