Partituras para directores de coro

The Saddest Noise 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 whe...

Wild Swans, a setting of a poem by Edna St. Vincent Millay, ends the first half of The Lost Birds. Told from the point of view of the poet, it starts with the sound of bird cries: gradually approachin...

With a simple melody inspired by children's songs, All That Could Never Be Said is a setting of Sara Teasdale's poem In the End. Showcasing her signature pairing of nihilism and pastoral beauty, the p...

I Shall Not See the Shadows is based on Christina Rossetti's poem "When I Am Dead My Dearest." It portrays death at its most indifferent--unnoticed, unheralded, unremembered. It suggests that forgetti...

A musical representation of the sonnet by Keats of the same name, this work expresses the creative process in variously musing and emphatic music.

This musical classic has found a new voice with a recent revival on Broadway. Filled with energetic music by Leonard Bernstein and great lyrics by Betty Comden and Adolph Green, the story of moving to...

This delightful little piece is a canon that can be sung in two, three or four parts. An excellent teaching piece for solfa that can also effectively be used as a warm-up for the most advanced choirs.

Chorpartitur.

These four motets were composed in the fall of 1921 while Copland was studying with Nadia Boulanger in Paris. The four motets have remained unpublished until now. Writing to Copland about them in 1924...

These four motets were composed in the fall of 1921 while Copland was studying with Nadia Boulanger in Paris. The four motets have remained unpublished until now. Writing to Copland about them in 1924...

These four motets were composed in the fall of 1921 while Copland was studying with Nadia Boulanger in Paris. The four motets have remained unpublished until now. Writing to Copland about them in 1924...

Bariton und gemischter Chor

Chorpartitur - mit unterlegter Klavierstimme.

In 1955, while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman, Leonard Bernstein composed French and Latin choruses as in...

Esta ronda, que se utiliza en la Misa de Bernstein, fue escrita como calentamiento para la composición completa de la Misa.

In 1955, while in the midst of working on a musical version of Voltaire's Candide with the distinguished American playwright Lillian Hellman, Leonard Bernstein composed French and Latin choruses as in...

Gemischter Chor mit unterlegter Klavierstimme

This incredibly moving piece would be an excellent closer to any program.

This popular piece makes a great closer for any college-level or advanced high school group!

Chorpartitur - mit Klavierbegleitung zu Probenzwecken