This anthem is scored for SSAATTBB and is unaccompanied. It was written in in 1976 for Martin Neary and the Winchester Cathedral Choir.
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Selected for the 2015 Pacific International Children's Choir Festival, this gentle prayer is gracious and moving. Jude Roldan has been composing music for the world-famous children's choir his wife conducts, Hail Mary the Queen Children's Choir for years. While the altos hold on to a pedal tone, the voices above construct heart-warming chords. Along with the “sanctus bells” and aleatoric chant, this piece is both simple and profound. Great for treble choruses of all ages.
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| Price | $1.89 (Save: $0.21) |
Uses: General, All Saints Day, Concert
Scripture: Revelation 21:2; Ezra 1:1-4
Beginning with the languid strains of a stunning low voice solo, and incorporating the traditional spiritual, “City Called Heaven,” this compelling anthem is a mixture of styles. The stately opening surrenders to a jazzy theme that is contagious in its “vibe” using the words almost as a rhythm instrument. The solo returns with choral backup, and the anthem ends with soulful exclamations celebrating the hope of heaven. Now available in three voicing options! Available separately: SATB, TTBB, SSAA, Rhythm Pack (Guitar, Bass, Drums), StudioTrax CD (Accompaniment, Split-Trax, Performance), Orchestration (Score & parts for Flute 1&2, Clarinet 1&2, Bassoon, Horn 1&2, Trumpets 1-3, Trombone 1&2, Bass Trombone/Tuba, Drum Set, Piano, Violin 1&2, Violin, Cello, Double Bass). Duration: ca. 3:14.
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For SSAATTBB Choir. Edited Patrick Russill.
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| Price | $2.48 (Save: $0.27) |
This setting of César Franck's exquisite Latin hymn will enhance many concerts with a high, floating solo supported by rich choral harmony accompanied by keyboard or the optional oboe, harp and strings. Available separately: SATB/Solo, SSA/Solo, ChoirTrax CD. Chamber Orchestra score and parts available as a printed edition and as a digital download (hp, ob, vn 1-2, va, vc, db). Duration: ca. 3:15.
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| Price | $1.62 (Save: $0.18) |
Zadok The Priest is a Coronation Anthem for King George II and has subsequently been heard at every coronation of the British Crown, during the sovereign's anointing. The opening choral entry of Zadok The Priest is one of the most striking moments in the choral repertory and typical of Handel's grand, rousing works.
Scored for SSAATBB and Piano or Organ accompaniment, and delightfully edited for this edition by Donald Burrows.
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The Magnificat was written in 1982 in response to a commission from Christ Church College, Oxford, whose choir first performed it under their conductor Francis Grier in July of that year. At that time the composer was influenced by his belated discovery of African music. During a period of research in Senegal and The Gambia he recorded a working-song in a small village called Badem Karantaba, about thirty miles south-east of Ziguinchor in the Casamance region of southern Senegal. Swayne used the opening call of this song to begin the Magnificat; it returns as a refrain towards the end.
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This work for mixed voices was first performed during Holy Week in 1922, and sets the words from the Office of Tenebrae for Maundy Thursday. The verses from the Book of Lamentations are scored for divisi upper voices, with solo alto.
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Kim André Arnesen's Stabat Mater breathes new life into the 13th-century Latin hymn, which portrays the Virgin Marys suffering at the crucifixion of her son, Jesus Christ. Amongst the traditional stanzas are two movements setting contemporary poems: Euan Tait's A Mother's Prayer, which was commissioned for this work, and a moving poem written by a child hospitalised with cancer. Arnesen's characteristic rich harmonies and memorable melodic lines combine to create a powerful and emotional major new work.
This vocal score, which includes accompaniment for organ, can also be used for performing the version of Stabat Mater with chamber orchestra accompaniment available on hire from Boosey & Hawkes. A version for mixed voices (SATB) is also available.
Kim André Arnesen is one of the most frequently performed composers from Norway today. He grew up in Trondheim where he was a chorister in the Nidaros Cathedral Boys' Choir, later being educated at the Music Conservatory in Trondheim. As a composer, he had his first performance at the age of 18 with the boys' choir. Since then he has written music that has been performed by choirs all over the world and piano pieces that have topped Apple Music's classical charts. Recordings of Kim's works include the Infinity collection on Naxos and the Holy Spirit Mass on Decca. Alongside choral gems including Flight Song and Ubi caritas et amor his recent output has featured larger-scale works such as Stabat Mater and The Stranger.
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(Malotte/arr. Christopher) SSAA a cappella
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Mass for Double Choir A Cappella. Credo with Organ Accompaniment. MORE»
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New to the Hinshaw catalogue, the choral work of Molly Ijames is well known to many. This exciting new work is rhythmically energetic, has a strong message, and is a welcome addition to literature for the treble voice choir. On a text from Zephaniah, it is scored for SSAA choir with piano.
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Here we have a fresh new take on this familiar African-American spiritual with contemporary harmonies, added passing tones that bring passion and excitement, a small group descant and a steady build to a powerful climax. A wonderful closer or encore to your program.
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The perfect way to end a concert or graduation ceremony, this Meredith Willson classic has been artfully crafted by Mac Huff. Available separately: SATB, SAB, and SSAA. ShowTrax CD also available. Performance time: Approx. 3:30.
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16 minutes.
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Fred Bock's setting of this famous Samuel Wesley tune was a classic from the start. It has been newly released as part of Fred's “Classics” series. A tasty keyboard accompaniment as only Fred could write supports a warm and rich choral part. Useful as an anthem, offertory or service piece, it is easy to medium in learning difficulty. Also available in SAB, 2-Part and SSA.
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Commissioned for the ACDA National Convention in New York, 2003, Rosephanye Powell has brought her classic style to this beloved spiritual. Rhythmic, vibrant and fun are words that describe this energetic setting.
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The text may be from the 13th century, but David Dickau's setting would have us believe it is contemporary. Although sounding sacred, the text portrays God's love for us is as effortless as a bird who catches the wind in flight, the content is more universal. The finishing touch is Dickau's ending which repeats a sequence with a diminuendo that eventually goes silent mid-text. High school and college choirs will be drawn to this piece.
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With a text adapted from a traditional hymn, this setting has an expansive and thoughtful feel about it, never bombastic, but instead rather grand. Also available in mixed and men's chorus editions. Recorded by Wellesley College Choir; Lisa Graham, director.
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Evoking the visions of John the Revelator, this African American spiritual depicts the twelve gates of the city that represents eternal freedom. This arrangement features the traditional as well as original melodic material with triadic harmonies and a percussive and rhythmic accompaniment, building in intensity to the final “Hallelu!”
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