Hymns for Mixed Choir

Choral part for André Campra's Requiem for SSTTB soli, SSATTBB chorus and orchestra.

SSATBB soli, 2xSATB chorus and orchestra

French composer, Jean Gilles (1668-1705) received his musical training as a choirboy in Aix-en-Provence. His substantial works are entirely religious, Messe Des Morts being no exception. Gilles catal...

French violinist and composer, Jean-Joseph Cassanéa de Mondonville (1711-1772) was a young contemporary of Rameau. De Mondonville was successful in his day, Dominues Regnavit being no exception. Best...

SATB soli, SATB chorus, 2 trumpets, organ and strings

SSAT soli, SSATTB chorus and orchestra

Eja, mater, fons amoris (‘O, Mother, fountain of love’) sets an extract from the 13th-century latin poem Stabat Mater, a hymn to the Virgin Mary describing her suffering during her son’s crucifixion....

The text is based on Petrarch’s sonnet 'Or ch’l ciel e la terra’, famously set by Monteverdi in his 8th book of madrigals. In English, the piece strips the words to an elementary, quasi-abstract form,...

A recorder method for children. This method is designed to be used by people who know nothing or very little about music and cannot read notation.

A recorder method for children. This method is designed to be used by people who know nothing or very little about music and cannot read notation.

Patrick Liebergen's edition of Bruckner's masterwork brings this 19th Century choral treasure to life for contemporary choirs. An excellent selection to develop phrasing, dynamics and legato choral te...

Patrick Liebergen's edition of Bruckner's masterwork brings this 19th Century choral treasure to life for contemporary choirs. An excellent selection to develop phrasing, dynamics and legato choral te...

Breathtaking! This gorgeous setting of the Agnus Dei text begins piano and gradually crescendos to a mezzo forte before ending in a pure, hushed final major chord. Easy to teach, this ABA-form piece w...

Breathtaking! This gorgeous setting of the Agnus Dei text begins piano and gradually crescendos to a mezzo forte before ending in a pure, hushed final major chord. Easy to teach, this ABA-form piece w...

The energy of this piece is derived from the layering effect of vocal lines and handclaps. The interweaving of voice parts makes for joyous part singing.

The energy of this piece is derived from the layering effect of vocal lines and handclaps. The interweaving of voice parts makes for joyous part singing.

The energy of this piece is derived from the layering effect of vocal lines and handclaps. The interweaving of voice parts makes for joyous part singing.

Much repetition and a catchy makes this 7/8 number deceptively easy to learn. Opens with eight measures in 7/8, then a smooth, homophonic andante section in 4/4, followed by a repeat of the opening 7/...

Much repetition and a catchy makes this 7/8 number deceptively easy to learn. Opens with eight measures in 7/8, then a smooth, homophonic andante section in 4/4, followed by a repeat of the opening 7/...

Although this work is sometimes referred to as a madrigal, it's really in the French chanson style: a polyphonic song popular in the fifteenth and sixteenth centuries. The subject, typical of a chanso...

Although this work is sometimes referred to as a madrigal, it's really in the French chanson style: a polyphonic song popular in the fifteenth and sixteenth centuries. The subject, typical of a chanso...

Here's a true choral fanfare from Sally Albrecht. It opens with an 'Alleluia' section in which the male voices echo the females, as trombones might echo trumpets in a Baroque brass work. This is follo...

We might have called this piece: 'Greatest Hits of the Sixteenth Century!' It's every madrigal you can think of (plus a few you can't) cleverly woven into a tight, fun to sing medley. Each madrigal de...