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Father William : from Three Choral Settings fr. Alice in Wonderland

Now back in print! This lively selection from Fine's classic Alice in Wonderland is full of dancing rhythms and spirited energy.

Three Choral Settings from Alice in Wonderland : No. 2 Lullaby of the Duchess

Now back in print! Alice's frightful encounter with the Duchess and her violently ironic lullabye makes for a memorable singing experience.

Basin Street Blues

Available for the first time in print, this skilled arrangement was written early in Hogan's career. Showcase a great soloist and your choir on your next concert.

Heavens Are Telling From The Creation

Here is the jubilant movement from Haydn's The Creation newly engraved in print and digital editions and with part-predominant rehearsal tracks. Available separately: SATB VoiceTrax CD. Duration: ca. 4:25.

Missa brevis - Mozart, Wolfgang Amadeus

For performance material please see BA 5342 The Violin I and II parts are included in the vocal score in a smaller print. vocal score SSolo/MezSolo/ASolo/female choir:SMezA/2V/Bc(Vo/bassoon/Org) Hæftet udgave D major

Carlos Simon: He Is

Combining two spirituals with original music and employing two soloists, this arrangement from first time contributor Carlos Simon is amazing. Series editor Eugene Rogers wrote and said “get this piece in print so I can begin programming it!” High praise indeed for a first time composer.

Java Jive

A classic! Ed Lojeski's arrangement of “Java Jive” still grooves with an infectious style that will inject a light moment in every concert! Now available in newly engraved print and digital editions. Availableseparately: SATB, TTBB, SSAA. Rhythm section parts available as a digital download (gtr, b, dm). Duration: ca. 2:50.

Jan Sandström: Kyrie

With Sanctus already available in print, the Kyrie is the second installment in a mass in progress by this Swedish composer, whose Lo, How a Rose E'er Blooming has been frequently performed and recorded both in Sweden and abroad, including the United States. A fine selection for festival or competition use. In Latin. Moderately difficult.

Good Counsel

A setting of a Geoffrey Chaucer text, “To Life’s Pilgrim “(‘Fly from the press, and dwell with soothfastness’), one of a collection of Howells works formally out-of-print, but now available in new engravings. An expressive and very naturally-shaped melody sits above the characteristically lush harmony in the accompaniment to create a very evocative short work.

The First Mercy : Carol

The First Mercy (1926) was originally a solo song and an early collaboration between Peter Warlock and Bruce Blunt, with whom he would soon after write perhaps his best-known choral work, BethlehemDown. Warlock arranged the carol for upper voices (SSA) & piano in 1927 but it was not until 1964 that the carol was arranged by Geoffry Russell-Smith for mixed voices & Piano. That arrangement is hererestored to print in a newly-prepared edition. 

Du Aber, Daniel, Gehe Hin - Funeral Cantata : Trauerkantate

Telemann's Funeral Cantata “Du aber, Daniel, gehe hin” appears here for the first time in print. A score of the work, until Second World War, was held in the Berliner Sing-Akademie. It was written by J. Dirmar, the formercantor at St Nikolai in Berlin and consisted of a four-page printed text.Full score, parts (BA3583) and choral score (BA3583-91) available for saleScored for Soprano solo, Bass solo, Mixed choir (SATB), Flute,Oboe, Strings, Organ

Stanley Dickson: Thanks Be To God

Thanks be to God is traditional in style and lends itself well to this four-part arrangement with stately chordal accompaniment. Few people know that ‘Stanley Dickson’ did not write this internationally renowned song of thanks. There was no ‘Stanley Dickson.’ It was a pseudonym, one of several used by Australian composer May Brahe to allow publishers to print more of her prodigious output. The only Australian woman composer of international renown in the first part of the 20th century, May Brahe also penned Bless This House and nearly 500 others.

Christina Drewing: Die Wahren Deutschen Superstars ...Und Wie Alles Beginnt

Singer/songwriter/journalist/musician Christina Drewing presents a music reference and a celebration of contemporary German musical superstars in one! Using interviews with music industry moguls, gurus, movers and shakers as well as artists and fans Drewing analyses their appeal, dissects the attributes that created their super star status to provide advice for amateurs, wannabes and talented young musicians. There are also vital contact numbers and adresses, a look at media including telveision and print marketing and artist biographies. 2CDs with audio commentary, music and futher interviews are also included to demonstrate and provide examples.

Balulalow

From the composer of “Jesus Christ the apple tree”, this gentle Christmas carol by Poston is a lullaby using the familiar text ‘O my deir heart, young Jesus sweet’ by James, John and Robert Wedderburn, arranged for two-part upper voices. The first verse is for unison voices before the chorus divides in two for some simple but attractive, mostly homophonic part writing in the second verse. The title has been out of print for many years and is now restored to the repertoire in a brand new edition as part of the Boosey & Hawkes Choral Treasury.

Erik Satie: Gymnopédies (Henle Urtext Edition)

Headstrong and eccentric, Satie consciously distanced himself from the Romantic traditions of the nineteenth century. His three miniatures for piano "Gymnopédies" are the first testimony to his idea of a "New Simplicity": repetitive, steady rhythms that are reminiscent of ancient cult dances have their very own meditative charm. Satie?s principle of stringing together musical units rather than forcing them to develop later proved groundbreaking for many musical movements of the twentieth century. Satie would certainly have appreciated the balanced print image of Henle's Urtext edition, as he took pleasure in the visual design of his musical scores.?

Újesztendőt köszöntő : A Christmas Carol (Hungarian folksong)

The piece was written originally for equal voice choir in 1929. A mixed-choir adaptation was made in 1961 at the request of Oxford University Press. This appeared in print in the same year with an English text under the title A Christmas Carol in a collection of Christmas songs, as well as in a separate print. The musical material of the mixed-choir version largely follows the original. There is one essential difference in verse 5, beginning at bar 35 (Babe all holy) where the tenor solo appears with a delightful eight-bar countermelody not found in the original. Since this version only appeared in Kodály's lifetime with an English text, this has been retained, but we havealso provided the original Hungarian text upon which the equal voice version is based. Zoltán Kodály's complete choral works for mixed voices were published in a new, extended, edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei, one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. The publication features new, easily-legible music scores edited on uniform principles. For better readability, the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume, and has been printed on excellent-quality pale-yellow paper.

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

Vltava (The Moldau)

Vltava (The Moldau) is the most famous and frequently performed tone poem from the cycle Má Vlast by the Czech composer Bed ich Smetana. It was written between 20 November and 8 December 1874, but only in1879-1880, with the completion of Má Vlast, did it appear in print, when Urbánek issued it in full score, along with a version for Piano duet.Owing to the large number of misprints in the Urbánek first edition, HughMacdonald has based this new edition on the autograph score, with cross-references to the first edition and the composer’s own version for Piano duet. Conflicting readings in the sources are listed in the Critical Commentaryalongwith a discussion of all editorial decisions.New Urtext edition with clear and uncluttered engraving.Informative foreword (Eng/Cz/Ger) including a contribution by Smetana scholar Olga Mojžšová.Includes a detailed Critical Commentary (Eng).

Herbert Howells: God Be In My Head

For SATB unaccompanied chorus, edited by Patrick Russill."This seventeen-bar miniature was, according to the owner of the autograph, ?written by Dr Howells in some spare minutes before the end of a theory lesson at the Royal College of Music in June 1966?. We shall never know whether the composer himself would have wanted to see it in print, but now that it is, many choirs will surely rejoice and welcome it into their repertoires. Though it looks on paper barely more taxing to sing than a hymn-tune, the harmonies require singers who can pitch dissonant notes with confidence and who have fairly wide ranges. The irregular metre gives the music an expressive flexibility, but this, too, presents challenges. It is in the final phrase that the hand of a master is revealed, with an exquisite darkening of the harmony at ?God be at mine end . . .? and a final cadence that is quintessential Howells."     - RSCM Reviews

Handel's Messiah: Warm-Ups For Successful Performance - Singer's Edition (Book/Online Media)

Handel's Messiah: Warm-Ups For Successful Performance has been specially designed to help choirs who are preparing to sing Handel's Messiah . This valuable resource is a must for every choral director responsible for guiding the performance of this cherished yet challenging work. The book is available as a Director's Score or Singer's Edition and each is broken into three sections: Part I provides an introduction to preparing Messiah and highlights Baroque performance practice and ideals, practical considerations for the performance and other helpful information. Part II includes warm-ups for 20 choruses. Part III includes appendices with a historical context of Messiah , primary sources supporting Baroque style and expression and a recommended reading list. The Director's Score includes the full text and warm-ups with Piano accompaniments, along with a code for accessing downloadable singer parts online. The Singer's Edition includes a handy folder-sized print edition of the vocal warm-ups.

Semmit ne bánkódjál : Szkhárosi Horvát András éneke, egykorú dallam szerint

This large-scale work originally written for male voices has been adapted for mixed voices by Kodály himself. The work was written initially for the centennial of the Calvinist Teacher Training Institute in Nagyk rös. Nothing has been discovered as to when he actually did the arrangement. The year 1952 was suggested by eyewitnesses who have said the version was first performed by the Budapest Pozsonyi Street Calvinist Church choir in 1953. (The date 1952 appears at the end of a fair copy in an unknown hand.) This is the first time this arrangement is published in print in the hope that great joy is found in performing a very rich score that calls for considerable vocal skill.Zoltán Kodály's complete choral works for mixed voices were published in a new, extended, edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei, one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. The publication features new, easily-legible music scores edited on uniform principles. For better readability, the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume, and has been printed on excellent-quality pale-yellow paper.