Partituras de Música espiritual y eclesiástica fácil

David Bednall's unaccompanied setting of this Compline hymn contrasts sections of chant, for tenor soloist, with rich responses for full SATB choir. The introit has a gentle sense of ebb and flow, com...

Skempton's setting of the Preces and Responses is simple, well-crafted, and harmonically rewarding, and is perfect for choirs seeking new material for the liturgy.

This gentle anthem is built around a warm, hymn-like refrain, which gives way first to a free-flowing and expressive section and then to a more sombre section. With a Latin text from Ruth 1, this affe...

Setting a well-known Latin text, Miller mixes expressive harmony and flowing polyphony to create a touching anthem. The opening and closing sections develop the chant-like opening motif, enclosing a j...

This short collection presents the complete set of meditations from Chilcott's St John Passion. Setting English poems from the 13th to the early 17th centuries, the meditations provide a very personal...

This radiant setting of the popular 'O nata lux' text features sumptuous and sophisticated harmonies and accessible vocal lines. The anthem builds to a central climactic moment followed by a reprise o...

William Blake's poem, 'A Cradle Song', is brought to life in this elegant setting by Chilcott. The gentle, recurring melody is passed from sopranos to altos, supported by 'oo's and 'ah's in the lower...

for SATB unaccompanied This setting of Phineas Fletcher's text is gentle and flowing, with a lilting, descending motif to characterise the 'slow tears'. Archer offers nuanced dynamics and imitative e...

Let all mortal flesh keep silence is a reflective, homophonic setting of text from the fourth-century Orthodox Liturgy of St James. Sheehan's setting, an original rather than the customary pairing wit...

Let all the world in ev'ry corner sing is an upbeat setting of a hymn text by seventeenth-century English poet George Herbert. Chilcott uses irregular metres, syncopation, and dancing melodic shapes t...

Esta breve oración vespertina de James Whitbourn recoge un fragmento del Libro de Oración Común. Escrita para el Coro del Harris Manchester College, Oxford, es una meditativa petición de la protección...

In Quiet Peace contiene tiernas palabras del compositor, Tristino Ali, que reflexionan sobre la calma que se encuentra cuando se pasa tiempo a solas con Dios. Con partes escritas de forma accesible y...

Guárdame como a la niña de los ojos es una obra sacra tranquila y meditativa, apta para ser interpretada durante todo el año litúrgico. Extraído del Salmo 17, el texto es una súplica de refugio y prot...

Another issue in the Church Music Society's series of great 16th-century Responds, John Sheppard's Reges Tharsis is for the season of Epiphany, celebrating the visit of the Magi to the infant Jesus. T...

This fine Respond by Thomas Tallis is scored for SATTBarB, with the chant placed in the 2nd Tenor part. Intended for the Feast of Corpus Christi, it can be sung at any Eucharistic service, either as a...

SSAATTBB unaccompanied In 1854 Pearsall arranged his madrigal Lay a garland to the text Tu es Petrus. Richard Shephard has taken up this idea and skilfully adapted Pearsall's fine eight-part piece Gre...

This setting of the Nunc Dimittis was written for Westminster Cathedral and first performed at Compline on Easter Day 1916. In concerts it could be contrasted with the Latin settings by Howells and Ho...

This new edition of the classic 'Tudor Responses' volume that first appeared in 1933 preserves the editions by Watkins Shaw that were published in 1966, though without Shaw's adaptations for the 1662...

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.

Ben Ponniah started singing at St Mary-le-Tower Church in 1990 when he was six years old. John Cooper was the Organist and Director of Music at the time, followed by Michael Nicholas. Seeing the star...

It was in 1898, while he was at secondary school in Nagyszombat, that Kodály wrote his strophic Stabat Mater for a capella male choir, which he reworked in 1962. The text of the present edition prec i...

Ein kraftvolles Loblied, in dem Lorenz Maierhofer Worte aus den Psalmen 34 und 36 gekonnt zu einer klassisch geprägten Motette verwebt. Nicht nur im Gottesdienst und in geistlichen Feierstunden, sonde...