Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.1165007 Composed by Sir Edward German. Arranged by Jane Anderson-Brown. 19th Century,Historic,Patriotic. Octavo. 10 pages. Jane Anderson-Brown #765356. Published by Jane Anderson-Brown (A0.1165007). Glorious Devon!  a song composed by Edward German with words by Harold Boulton.  Arranged for SATB chorus with optional piano accompaniment.A light hearted celebration of one of England's counties.  It is my home county!

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.888255 Composed by Edward David Zeliff. Contemporary. Octavo. 12 pages. Edward David Zeliff #4765865. Published by Edward David Zeliff (A0.888255). This piece is a choral adaptation of an art song setting for soprano and piano of an original text in German contemplating the nature of the ever powerful ocean. The gentleman who wrote the original poetry did so in response to observing the waves breaking upon a rocky shoreline. There is an English text under the German that is a literal and exact translation of the original language and is so well worked out that the same exact music serves the text in both languages with syllabic stress and placement of words in the sentence. Thus it may be sung in either German or English with equal effect. This choral version is an enrichment of the vocal texture but with harmonic language derived from the original piano accompaniment. The piano accompaniment is identical to that of the art song and is somewhat challenging. The choral parts are not terribly difficult, but the difficulty is enhanced somewhat when sung in German. The constant ebb and flow of the sea as well as its power and majesty and mystery are evoked in this richly harmonic and strikingly melodic music.

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535387 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 65 pages. Musik Fabrik Music Publishing #3043973. Published by Musik Fabrik Music Publishing (A0.535387). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir

Choral Choir (SATB) - Level 5 - Digital Download SKU: A0.535388 Composed by Carson Cooman. Baroque,Contemporary,Sacred. Octavo. 82 pages. Musik Fabrik Music Publishing #3043975. Published by Musik Fabrik Music Publishing (A0.535388). I. SinfoniaII. To Mary on the vigil of her AssumptionIII. A Votive SongIV. The Heliotrope-the mind of man turned to GodAscensions (2009) for SATB chorus, traverso, baroque violin, viola da gamba, and organ was commissioned by and isdedicated to the Cornell University Chamber Singers, Holland J. Jancaitis, director.The work is a cantata consisting of an instrumental sinfonia followed by choral settings of three poems by neo-Latin poetJakob Balde, S.J. (1604–68), hailed as the Horace of Germany and considered one of the greatest Latin poets of any era.In the case of the three poems selected, Balde’s vivid imagery and mastery of Latin poetics are put in service of religiousexpression. The poems are filled with countless allusions to the classical poetic tradition; notably, he creates a strongcorrelation between the Virgin Mary of his Christian tradition (Balde was a Jesuit priest) and the goddesses invoked inclassical Latin poetry. Thus, Balde uses the older forms to express something that was, for him, contemporary andrelevant. (An analogue to this use of language is the idea of creating new music to be played on period instruments.)The opening sinfonia begins with an ascending pattern of triads, which returns throughout the work. The forwardmomentum is interrupted several times before the movement settles tonally. The first choral movement employs abouncy momentum to set the celebratory poem on the Virgin’s assumption. The second movement is a prayerful song onthe acceptance of death; it is spare and meditative, unfolding as a series of sectional canons over several drones. The finalmovement returns to the celebratory spirit of the opening; this time, instead of the Virgin’s journey, the poem describesthe speaker’s journey and compares a purposeful sea voyage to a directed life.Balde’s poems are provided in their original Latin and in two translations. One is a free translation in rhyming poeticEnglish created by James J. Mertz, S.J., longtime professor at Loyola University. The other is a newly-created literaltranslation by Edward J. Vodoklys, S.J., Senior Lecturer in Classics at the College of the Holy Cross.Carson P. Cooman, January 2009, Cambridge, Massachusetts, USAPERFORMANCE NOTES: The composer prefers a classically-informed Italianate pronunciation of the Latin(church Latin is acceptable). (It is important that V always be pronounced as V, not as the W soundoften used by classical Latinists.)The work is conceived for a chamber choir, as a larger choir would not balance the timbres of the baroqueinstruments. It is suggested that 16–24 singers be employed (no fewer than 12).As with much early repertoire, dynamic and expressive markings are kept to a minimum. It is expected thatdirector and performers will inflect lines expressively and naturally. The organ part is notated for a small portatiforgan with pull-down pedal (with no independent pedal stops). If played on a larger instrument, this smallerregistration plan should be kept in mind so as to create balance with the instruments and choir.

Mixed choir - intermediate - Digital Download SKU: S9.Q14295 Ave, Marry. Composed by Edward Elgar. This edition: choral score. Downloadable. Schott Music - Digital #Q14295. Published by Schott Music - Digital (S9.Q14295). German • English • French.

Choral Choir,Choral (SATB) - Level 3 - Digital Download SKU: A0.955861 Composed by Rudolf Sieczynski. Arranged by Scott S. Stewart. 20th Century,Multicultural,Romantic Period,World. 7 pages. Scott S. Stewart #6487467. Published by Scott S. Stewart (A0.955861). Vienna is among the most sung about cities in Europe, particularly during the interwar period. Austrian composer Rudolf Sieczynski composed this nostalgic waltz Wien, Du Stadt Meiner Träume (Vienna, City of My Dreams) paying homage the city of his birth. He describes Vienna as if it were a woman, wooing a man with her divine beauty.  This song was popularized by the Austrian tenor Richard Tauber in 1935, and is featured in the soundtrack of Stanley Kubrick’s 1999 film Eyes Wide Shut.  This arrangement is for 4-part SATB ensemble with piano accompaniment.  It uses both the original German lyrics, and Edward Lockton’s English text. Performance time: 2:43+- Heaven, Vienna mine, laughter and music and stars that shine; Wonderful city where I belong, Of her I sing my song.