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Die sieben Worte des Erlösers (KA)

Joseph Haydn's The Seven Last Words of Our Saviour on the Cross composed for mixed choir (SATB) with Piano accompaniment. The Seven Last Words of Our Saviour On the Cross is an orchestralwork by Joseph Haydn, commissioned for the Good Friday service at Cádiz Cathedral in Spain.

Cross Sections and Color Fields : for Orchestra

Concert Etuden P.

Fantasie B Op.28 P.

Baltic Songs for Male Voices : Volume One

This collection of 11 works for male voices includes titles by the Latvian composers riks Ešenvalds, Rihards Dubra, Valts P ce, Juris Karlsons and Em ls D rzi š. The book also includes a pronunciation guide andtranslations for the Latvian texts.

Die Sieben Letze Worte Unseres Erlösers Am Kreuze

Joseph Haydn's Die Sieben Letze Worte Unseres Erlösers Am Kreuze. The Seven Last Words of Our Savior on the Cross' Op.51 In 1785 or '86, Haydn received a commission from the Canon ofCadiz for what would serve essentially as 'incidental' music for a Good Friday service (akin to the one centering upon The Stations of the Cross, although there are twelve of those) in which the celebrant recites in turn each ofChrist's utterances on the way to Calvary, then gives a 'reflection' thereupon, followed by music to accompany a brief interval of silent congregational prayer. To this Haydn added an introductory movement, and aconclusiondepicting the earthquake that followed the passing of Jesus. The structure of the work, then, is: Introduction -- 'Father, forgive them, for they know not what they do.' -- Sonata 1 -- 'Verily I say unto thee, todayshalt thou be with me in Paradise.' -- Sonata 2 -- 'Woman, behold thy son.' -- Sonata 3 -- 'My God, my God, why hast thou forsaken me?' -- Sonata 4 -- 'I thirst.' -- Sonata 5 -- 'It is finished.' -- Sonata 6 -- 'Father, into thyhands I commend my spirit.' -- Sonata 7 -- Conclusion (Earthquake)

Piano Works - Volume 1 : Satie

The first volume of the Piano Works of French avant-garde composer Erik Satie. This first volume contains a selection of pieces taken from all periods of his life from the early mystical compositions and through hiseccentricity, the only common feature running through is the dance or a dance-like quality of his music. Satie’s legacy is his position as a progressive, avant-garde composer and his cross pollination of musicalforms and contexts, mixing the artistic high culture with the trivial, cabaret crossed with concert hall. This Edition Peters Urtext edition provides you with an accurate realisation of this unique andversatilecomposer’s original intentions, with thorough and detailed editorial markings and suggestions. Includes the following works: Ogives, Sarabandes, Gymnopedies, Gnossiennes, Pieces Froides Noturnes andMenuet.

Reine Frauensache 2 : 25 Choral Highlights for Upper Voices

Following the great success of the award-winning first volume of Reine Frauensache! (crowned Best Edition 2017 by the German Music Publishers Association), Edition Peters presents the longawaited second book in this series. As previously, the collection includes pieces at easy to intermediate level that are fun to sing and highly effective in performance. The selection represents a broad cross-section of choral repertoire, making it a treasure trove for any female choir. • 25 easy to intermediate choral settings in three or four parts, particularly suitable for amateur choirs • Effective and varied repertoire ranging from Pergolesi to ABBA • Four categories of pieces: Secular,Sacred, Folksongs and Pop • Mostly a cappella piano/instrumental accompaniments are available separately • Appendix with translations of foreign-language lyrics

Wild Musick : for Double Choir and optional Chamber Organ or Piano

When Twickenham Choral commissioned this work for their centenary celebrations it made sense to choose a local poet. Alexander Pope (16881744) is regarded as one of the UKʼs finest, and with the money he had made from his translation of Homer, he was able to purchase a magnificent villa in Twickenhamʼs Cross Deep, of which his famous grotto still survives, underneath St Catherineʼs and Radnor House Schools. He was 22 when he penned his epic Ode for Musick, on St Ceciliaʼs Day although it wasnʼt published for another 13 years. Iʼve used just the exuberant first verse here, and have relished word-painting his musical depictions, using the first two lines, which imitate celebratory church bells, as a refrain. I am hugely grateful to Twickenham Choral and their conductor Christopher Herrick for commissioning this work  it has been a huge joy to write, during this riotously sunny and colourful spring. Roxanna Panufnik

The Orgelbüchlein Project : Volume 4: Christian Life and Conduct

The Orgelbüchlein Project is a collective composition project aiming to complete Bach’s unfinished manuscript known as ‘Orgelbüchlein’. In the ‘Little Organ Book’, Bach laid out a complete hymnal of short organ chorale, 164 in all, but only completed 46 of them. Why the remaining 118 were left as blank pages, with only a title at the head, remains a mystery, but they inspired organists William Whitehead to found the Orgelbüchlein Project, in which contemporary composers are invited to contribute a piece to completing the collection. The resulting collection, to be published in eight volumes, represents a cross-section of the most interesting composers at work today acrossEurope. More information about the project is available at www.orgelbuechlein.com. List of Composers: Nigel Allcoat, Johann Sebastian Bach, Sally Beamish, Christian von Blohn, Timothy Byram-Wigfield, John Butt, Stephen Hough, Just Janulyt , Simon Johnson, Jonas J rkunas , Daniel Kidane, Till Alexander Körber, Ronny Krippne, David Matthews, Nico Muhly, Anthony Powers, Tarik O’Regan, Roxanna Panufnik, Poul Ruders, Sven-David Sandström, Robert Saxton, Peter Shepherd, Andrew Synnott Zsigmond Szathmáry William Whitehead

Jubilate Deo

This setting was commissioned early in 2023 for the Choir of the Chapels Royal, H.M. Tower of London, as part of a service celebrating the Coronation of H.M. King Charles III. It was first performed by the Choir of the Chapels Royal conducted by its Director of Music, Colm Carey, with Christian Wilson, organist. On the day following the Coronation, the filmed service was broadcast online throughout the Commonwealth. My brief was to create something which, while outgoing and energetic, could be prepared by a professional choir in relatively short rehearsal time, therefore lending itself to regular subsequent performance at Matins services. The music offsets its simple 3/4 time signature with intermittent dancing cross-rhythms in 6/8. In the interests of brevity, most of it is chorally homophonic, moving verbally and rhythmically in lockstep and only occasionally diversifying into brief flurries of imitative counterpoint. I was, however, encouraged by Colm Carey to write with an organist of international virtuoso standing in mind. The result represents the best accommodation I could make between Christian Wilsonʼs brilliance and that aforementioned hope of regular performances. Francis Pott, 2024