Go to cart
Basic Library A Cappella Available via ePrint Downloadable (MP3s, PDFs & more) All Prices in U.S. Dollars & Subject To Publisher Revision
CONCERT WORKS
Our Last Words—Kjell Perder. With lyrics
based on authentic quotes from prisoners facing
execution, this innovative work allows a number
of silenced voices to come forward in emotional
goodbyes, pleas for forgiveness, assurances
of innocence, and wise advice to survivors.
Creatively includes intermittent thuds from four
staffs to emphasize their final words: a percussive
emphasis for when life and death is about to be
summed up. A powerful work for more advanced
ensembles.
11400009 SAATBB . . . . . . . . . . . . . . . . . 4.80
Our Voices Linger—Charles Anthony Silvestri
& James Eakin III. Charles Anthony Silvestri's
lyrics beautifully capture the sights, sounds, and
events that stir up memories of a loved one who
has passed away. A passion for nature is also
reflected in the lyrics and further brought to life
through an abundance of text painting in the
music. "I know you are gone, but your voice, it
lingers on."
11394215 SATB divisi . . . . . . . . . . . . . . . 2.30
Pax Domine (Peace, Lord)—David Lantz
III. This challenging anthem uses Latin phrases
to convey the theme of peace. A short section
in English, "Lord, grant us peace," gives way
to a return of the opening text, "Pax, Domine."
Appropriate for general use, memorials, Holy
Week, and as a prayer response, its lush
harmonies and effective voice leading also make
it highly suitable for concert performance.
11414661 SSATBB with
Piano Accompaniment . . . . . . 2.00
Peacebomb—Michael Bussewitz-Quarm.
Long after troops and warplanes disappear,
UXO (unexploded ordnance) remains hidden
in the earth, leading to unnecessary casualties,
especially among children, and food insecurity.
With compelling lyrics by Charles Anthony Silvestri,
this inspirational work honors the casualties of
the aftermath of war and the people who aspire
to transform the wounded countryside. This is a
dramatic and socially responsive selection that is
sure to spark important conversations.
11397325 SATB divisi . . . . . . . . . . . . . . . 3.50
Requiem—W.A. Mozart/ed. Michael Ostrzyga.
This publication of a new completion of the
Mozart Requiem offers a source-critical edition
of Mozart's fragmentary Requiem as well as an
alternative to the traditional Süssmayr version.
It makes it possible to perform the fragment,
identified in print in both the score and the parts;
the authentic sections left incomplete by Mozart,
now in a stylistically appropriate orchestration; and
those sections missing entirely in the fragment,
newly added in Mozart's idiom taking into account
historical additions by Süssmayr and Eybler.
11408074 SATB Vocal Score . . . . . . . . 17.00
The Saddest Noise (from "The Lost
Birds")—Christopher Tin. From the Grammy-
nominated work The Lost Birds, this selection is
a setting of Emily Dickinson's poem "The Saddest
Noise, the Sweetest Noise". It begins the story of
The Lost Birds in spring: the season of birth and
renewal, and a time of year when bird songs flood
the skies. But what is ordinarily a joyous sound
is now riddled with sorrow, as the songs of the
remaining birds remind us of the ones we've
already lost.
11417560 SATB divisi . . . . . . . . . . . . . . . 2.60
Sanctus (from "Requiem Novum")—
Marten Jansson. Extracted from his larger work
"Requiem Novum," this Sanctus movement
stands on its own as a concert work with organ
accompaniment. Written for and beautifully
recorded by the VOCES8 Foundation Choir,
Jansson's setting of the traditional Latin text
begins peacefully but crescendos to heavenly
heights when the weaving choral lines unite in
"Hosanna in excelsis!"
11415508 SATB. . . . . . . . . . . . . . . . . . . . 2.80
Sanctus (from "Missa Romantica")—
James Q. Mulholland. Extracted from the third
movement of the larger work "Missa Romantica,"
this setting of the traditional Sanctus text in Latin
appears in two versions: the first is accompanied
as it appears in the larger work; the second is
an cappella version for mixed divisi choir. The
orchestrated parts are available for the larger work.
11411094 SATB Divisi
Accompanied Version . . . . . . 2.10
3701662 Missa Romantica -
SATB Singer's Edition . . . . . . 7.50
She Took His Hands—Nicholas Cline. This
contemplative work effectively highlights activism
for immigration. A challenging and rewarding work
for advanced ensembles.
11416020 SATB. . . . . . . . . . . . . . . . . . . . 2.95
Sic luceat lux vestra—Fred Gramann. A
traditional motet based on Matthew 5:16. The text
is in Latin with a brief English statement of the text
featured in the soprano solo.
11414867 SATB divisi . . . . . . . . . . . . . . . 2.15
Sing a New Song—Sarah K. May. This upbeat
choral setting of Psalm 96 is written in a modern
style that is rhythmic and full of harmonic texture.
With interesting harmonies and some lovely
cluster chords, this piece is for more advanced
ensembles.
11405552 SSAA . . . . . . . . . . . . . . . . . . . 2.00
Sing to the Moon—Laura Mvula. This beautiful
arrangement of the original was created for the
BBC Singers. Intimate and captivating, this
selection's thick divisi choral texture and cool
modern setting are great for more advanced
ensembles.
11398403 SATB divisi . . . . . . . . . . . . . . . 2.75
Sing We and Chant It—Bob Chilcott. This
piece sets the text of a well-known 16th-century
madrigal of the same name by Thomas Morley in
a jazz waltz style. This is a selection from the four-
movement work Little Jazz Madrigals (11415042).
The optional bass and drum set parts are printed
in this vocal score.
11411979 SATB. . . . . . . . . . . . . . . . . . . . 3.65
11415042 Little Jazz Madrigals -
SATB Choral Score . . . . . . . 15.99
Solace—Sean Ivory. "'Tis a human thing, love,
a holy thing, to love what death has touched."
Medieval poet and philosopher Yehuda Halevi's
profound text explores the risky nature of love.
Ivory's musical setting is mysterious and steady,
capturing the "painful joy" of the poem with
emotive and expressive writing.
11415510 SSAA . . . . . . . . . . . . . . . . . . . 2.80
Song for St Cecilia's Day, HWV 76
(Cacilienode)—G.F. Handel/ed. Stephan
Blaut. Following upon Alexander's Feast (1736),
in 1739 Handel produced a second setting of the
Ode to St Cecilia ("Song for St Cecilia's Day").
At its première it was combined with
Alexander's Feast. Rather than a dramatic plot
presentable in the theater, the Ode, in its seven
sections, offers a general hymn of praise to music
and its impact. Accordingly, it largely consists of
emotion-laden arias and festive orchestration.
This edition, based on the Urtext from the Halle
Handel Edition, offers the version heard at the
first performance - the version preferred in today's
concert life. The foreword (Ger/Eng) provides
many detailed notes on performance practice with
regard to orchestration.
11420571 SATB Vocal Score . . . . . . . . 17.00
The Spirit of Poetry—Daniel E. Gawthrop.
"There is a quiet spirit in these woods." With
lyrics by Henry Wadsworth Longfellow, this piece
is an outstanding selection for more advanced
ensembles.
11397632 SATB. . . . . . . . . . . . . . . . . . . . 3.00
Still the Same Love—Michael Bussewitz-
Quarm. With lyrics by poet Euan Tait that compel
us to find a way back to loving ourselves and
loving each other, this inspirational selection can
be featured in any season. Each section builds
upon the previous, reaching a warm fullness that
lets us know that we are held by love. "Yet it is
ourselves, at the beginning of a healing. Still I love.
Still I am loved."
11397324 SATB. . . . . . . . . . . . . . . . . . . . 3.20
Strange—Michael Bussewitz-Quarm. A driving
rhythm sets the mood for this empowering trans-
formation from bullied trans person to someone
who finds support and acceptance from those
they choose to surround themselves with. Written
with all genders' voices in mind, this select-
ion embodies the acceptance and love of oneself.
11397326 SATB. . . . . . . . . . . . . . . . . . . . 2.50
11397327 SSA. . . . . . . . . . . . . . . . . . . . . 2.50
Sunset Symphony—Joshua Fishbein. The
poem by noted author Nathan Brown provides a
wealth of musical inspiration which the composer
tapped into for this choral setting. Using text
painting, this loosely forms a musical shape that
parallels the contour depicted in the poem; the
listener will hear the warm and beautiful picture
the author intended.
11394755 SATB divisi . . . . . . . . . . . . . . . 3.15
24
COLLEGIATE
CHOIR
