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Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1033637 Composed by Matthäus Apelles von Löwenstern. Arranged by Aaron Lee. A Cappella,Baroque,Praise & Worship,Sacred. Octavo. 2 pages. J. Aaron Lee #638947. Published by J. Aaron Lee (A0.1033637). This is an SATB chorale set to the tune written by Löwenstern approx. 400 years ago. With a text written by Johann Heermann, this chorale is fairly moderate in difficulty and should be an appropriate level for amateur or church choirs. All five verses, in German, are included as part of this score. This chorale is also available as part of the collection, Sieben Deutches Kirchegesänge. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
Herr unser Gott, Lass nicht zuschanden werden (SATB, a cappella)
Chorale SATB

$1.99 1.67 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.953625 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin. Octavo. 5 pages. Adrienne Inglis (ASCAP) #6405603. Published by Adrienne Inglis (ASCAP) (A0.953625). La ciudad sumergida (The Submerged City) for four-part treble chorus and nature soundtrack by Adrienne Inglis (ASCAP) Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale A setting of an excerpt of Río de La Plata en lluvia from Mascarilla y Trébol (1938) by Alfonsina Storni (1938) Copyright © 2020 Adrienne Inglis Founder, composer, and singer with Inversion Ensemble of Austin, Texas, Adrienne Inglis also serves as principal flute with the Central Texas Philharmonic, flute instructor at Southwestern University, and flutist with flute/harp duo Chaski. She has music degrees from Lewis and Clark College and the University of Texas at Austin. An avid birder and environmentalist, she lives in the rural hill country of Central Texas. Poet Alfonsina Storni began writing during a tumultuous childhood fraught with economic hardships, many disruptive moves, and an alcoholic father. She danced with a theatrical troupe and then became a teacher and journalist. She bore a child out of wedlock and found herself working as a single mother during socially oppressive times. In Buenos Aires she joined the emerging world of women’s rights, becoming an important literary voice in the movement. When her breast cancer returned, her lifelong passion for the sea culminated in her suicide off of the coast of Argentina. Río de La Plata en lluvia from Mascarilla y Trébol (1938) lines 1-4 by Alfonsina Storni in the public domain Ya casi el cielo te apretaba, ciego, y sumergida una ciudad tenías en tu cuerpo de grises heliotropos neblivelado en su copón de llanto. [The sky was about to embrace you, blind, and you had in your body of gray heliotropes a submerged city, with the misty sky like a chalice about to overflow with tears.] Program note: Commissioned for Dr. Ramona M. Wis and the North Central College Women’s Chorale of Naperville, Illinois, La ciudad sumergida (The Submerged City) by Adrienne Inglis for four-part treble chorus with nature soundtrack captures the mood of a river, a city, the cloudy sky, and the poet’s own profound melancholy. The sound of rain creates both the ambiance of a misty day on the river and the sensation of cathartic crying from great sadness and pain. The city’s reflection on the river’s surface gives the illusion that the city is submerged in the water. The reflection of the clouds hovering low over Río de La Plata looks like gray heliotrope flowers. The apocalyptic images of a submerged city and of tears overflowing from the chalice-sky eerily foreshadow rising sea levels due to anthropogenic global warming. The nature soundtrack of rain was recorded by the composer in the hill country of central Texas, July 2020. Performance note: This aleatoric, asynchronous composition is suitable for remote singing along with the video score and nature soundtrack. Observe the order of entrances, but know that it’s not meant to line up exactly. Finish a phrase even if another phrase has started. Diphthongs move immediately to the second vowel sound. Ya begins with the [dÊ’] sound and llanto begins with the [Ê’] sound, both typical of the Buenos Aires accent. Sing quite expressively except for the neblivelado section which is misty and veiled. The director may wish to indicate the rehearsals numbers or the singers may follow the time on the video-or both. Duration: 3:08 Link to video with soundtrack is available from the composer (http://adrienneinglis.com). Acknowledgements: The composer warmly thanks Pablo and Diana Donatti, Ãngeles Rodríguez Cadena, and Emilio Torres for their contributions to this project and to Dr. Ramona M. Wis and the North Central College Women’s Chorale for the generous commission. Copyright © 2020 Adrienne Inglis | http://adrienneinglis.com
La ciudad sumergida (The Submerged City) for SSAA treble voices and nature soundtrack
Chorale SSAA

$3.99 3.35 € Chorale SSAA PDF SheetMusicPlus

Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.733023 Composed by Sholom Kalib. Children,Jewish. Octavo. 78 pages. Ayotte Custom Musical Engravings #2347255. Published by Ayotte Custom Musical Engravings (A0.733023). When commissioning Rejoice and Sing it was our intention not only to have a concert work written for our Youth Chorale but also a work that would be an instrument in teaching Hassidism, for what better way is there to teach Hassidism than through its music. We also wanted to demonstrate that authentic Hassidic music can be arranged in a sophisticated musical manner without having to sacrifice the inherent folk nature and simplicity that is so indicative of Hassidic song. We were most fortunate in securing the talents of Sholom Kalib to carry out this project with us. Dr. Kalib from youth has been steeped with a unique blend of love and understanding of traditional Jewish music and a very high degree of general musicianship. He succeeded in turning these basically simple tunes into a highly inventive musical work without sacrificing the legitimate qualities of the material with which he was working. It is hoped that those using this arrangement will find the same degree of success that we have had in our many performances.   We wish to acknowledge with appreciation the following who made this work possible: Mr. and Mrs. Herbert Liebowitz of Dayton, Ohio who sponsored the commissioning of this work; Rabbi Jack Riemer, the board of directors and the members of Beth Abraham Synagogue, Dayton, Ohio for their support and help in many projects of the Youth Chorale; the devoted and hard working members of the Beth Abraham Youth Chorale who gave birth to this work and who, through their many unique accomplishments, have carried the message to their community and to communities throughout the United States that Jewish youth is indeed vibrant and very much alive.  It is our fervent hope and prayer that this work will be a significant addition to the great heritage of Hassidic music and that those who will utilize it will indeed have an opportunity to Rejoice and Sing.The melodies included are:Tzahali Vôroni (Bobov)NigunRom'mu (Rabbi M. Twersky)Ëmôsai (Lubavitch)Bilvôvi (S. Brazil)Kol Tsôhôlô (B. Z. Schenker)Hodu (Modzitz)Hinë Ma Tov
Rejoice and Sing: A Medley of Hassidic Tunes
Chorale 3 parties

$29.99 25.16 € Chorale 3 parties PDF SheetMusicPlus

Choral Choir (SATB) - Level 2 - Digital Download SKU: A0.1036149 Composed by Louis Bourgeois. Arranged by Aaron Lee. A Cappella,Baroque,Praise & Worship,Sacred. Octavo. 2 pages. J. Aaron Lee #641253. Published by J. Aaron Lee (A0.1036149). This is an SATB chorale set to a tune written approx. 500 years ago by Louis Bourgeois. With a text written by George Friedrich Fickert, this chorale is fairly moderate in difficulty and should be an appropriate level for amateur or church choirs. Four verses, in German, are included in this setting. This chorale is also available as part of the collection, Sieben Deutches Kirchegesänge. For more music from Aaron Lee, you can visit www.MusicOfLee.com.
O Daß doch bald dein Feuer brennte (SATB, a cappella)
Chorale SATB

$1.99 1.67 € Chorale SATB PDF SheetMusicPlus

Choral Choir (SAB) - Level 2 - Digital Download SKU: A0.1042625 Composed by Todd Marchand. Sacred. Octavo. 7 pages. Con Spirito Music #647400. Published by Con Spirito Music (A0.1042625). Tobias Clausnitzer (1619-1684) was a German Lutheran pastor and writer of theological treatises, sermons, and hymns. His best-known hymn, perhaps, is Liebster Jesu wir sind bier, translated to English and published as Blessed Jesus, at thy word by the English hymn-writer and educator Catherine Winkworth (1827-1878) in her Lyra Germanica — Hymns for the Sundays and Chief Festivals of the Christian Year, translated from the German (1858), and repeated in her Chorale Book for England (1863). Winkworth was also translator for Clausnitzer's Wir glauben all an einen Gott, Yater, Sohn und heilgen Geist (We all believe in one true God, Father, Son, and Holy Ghost), a metrical paraphrase of the Apostles Creed designated for Trinity Sunday in the Culmbach-Bayreuth Gesang-Buch (1668). Winkworth also included this in her Chorale Book for England.This new musical setting, mostly in unison and briefly expanding to three-part harmony at the peak of each verse, is very singable by small and developing choirs composed of soprano, alto, and baritone/bass voices. The accompaniment, with sustained tones, is best realized on organ.The opening phrase, We all believe in one true God, may be sung by a solo male voice, similar to the opening intonation of a chanted canticle or psalm. Dynamic contrasts (crescendi and decrescendi) throughout follow the rising and falling of the melodic line and should be carefully observed. ©Copyright 2022 Todd Marchand / ConSpiritoMusic. Visit www.conspiritomusic.com
Hymn to the Holy Trinity — anthem for SAB voices, organ
Chorale 3 parties

$2.00 1.68 € Chorale 3 parties PDF SheetMusicPlus

Choral Choir,Choral,SATB Chorus divisi - Level 5 - Digital Download SKU: A0.1487909 Composed by Stanley M Hoffman. Arranged by Stanley M Hoffman. 20th Century,Classical,Jewish. 12 pages. Stanleymhoffman.com #1064840. Published by stanleymhoffman.com (A0.1487909). Composer’s Notes  Anim Zemiros was composed in 1985 while I was a doctoral student of Martin Boykan at Brandeis University. The initial fugal theme was inspired by the melody from the third movement of Beethoven's Quartet in A Minor, Op. 132, also known as Heiliger Dankgesang. My theme resembles Beethoven's melody in two ways: it aurally approximates the rhythms of his theme and it also takes the contour of Beethoven's melody and inverts it, also in an approximated way. This is where the similarities to Beethoven's theme end, forAnim Zemiros is most certainly not composed in the Lydian mode! Rather, it is composed in a chromatically saturated musical language. Although Anim Zemiros may be used for the Jewish Musaf Sabbath Service, it was conceived as a concert piece. In the synagogue, this hymn is sung responsively by the cantor and congregation. The responsive nature of this hymn is what inspired the use of contrapuntal passages alternating with homophonic ones. Anim Zemiros begins with a statement of the initial fugal theme in the basses followed by a response at the interval of a fifth in the altos during which the basses present the counter theme. After a brief episode, the same thing happens in the tenor and soprano voices while the basses and altos present new contrapuntal melodies. A brief, contrasting, calm homophonic chorale passage ensues (a textural foreshadowing of both the loud climax and the hushed closing of the piece). This is followed by an extended development section (like ones from sonata-allegro movements) in which ideas from both the contrapuntal and homophonic sections are fragmented and stratified. Shifting time signatures provide added momentum to this music that leads to the homophonic climax that follows. Next comes an “anti-fugue” in which the initial fugal theme is presented backwards, as is the fugal form itself, moving from four voices, to three and finally to two. However, rather than moving to one voice as at the opening of the piece (which would have been a very predictable thing to do), the piece ends with a reminiscence of the calm homophonic chorale. Ashkenazic pronunciation was chosen over Sephardic for two reasons. I wished to have the s sound on the Hebrew letter sov rather than the t sound. In addition, Ashkenazic pronunciation is considered to be somewhat archaic since Sephardic is used in modern Hebrew. I felt this gave me artistic license to compose vocal lines containing correct or incorrect syllabic stress for purely musical effect. I deemed it necessary to state this at the outset of the score, lest one think that this composition contains errors in text-setting.Ashkenazic Transliteration An-im zemiros veshirim e-erog,Ki eilecho nafshi sa-arog.Naf-shi chimedo betseil yodecho,Loda-as kol roz sodecho,Midei daberi bichevodecho,Ho-me libi el dodecho.Ye-eravno sichi olecho,Ki nafshi sa-arog eilecho.English TranslationI will chant sweet hymns and compose songs,For my soul pants after you.My soul has longed to be beneath the shadow of your hand,To know all of your mysteries.Even while I speak of your glory,My heart yearns for your love.May my meditation be pleasant unto you,For my soul pants after you.
Anim Zemiros
Chorale SATB

$3.00 2.52 € Chorale SATB PDF SheetMusicPlus






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