Noten für Chorleiter

A tiny voice is rising carried on the wind. A simple song of reason. Will we let it in? Listen to the children.' This simple yet profound opening statement sets the stage for this inspirational song.

Composer David Brunner has a gift for setting texts in melodic phrases with gentle contours and with a lyrical style. He has done exactly that with this text by Victorian age poet and essayist Bessie...

Tuneful melodies of broad contours and long-breathed phrases characterize this setting of the Thomas H. Troeger text. A sense of rubato will expressively shape each phrase. Though scored for piano, th...

O Aula Nobilis is a festive work, composed for the opening of the Natalie L. Haslam music center at the University of Tennessee. After the opening unaccompanied chant in the women's voices, the music,...

Written in memory of a loved one, this piece celebrates a love of life and a love of music. Sections of text are taken from the traditional hymn How Can I Keep from Singing and the use of Pachelbel's...

This simple but powerful text by Nick Page reminds us that 'When we let our emotions truly shine, we make the world a better place.' Written for the choir Joyful Noise, this piece can be sung by any c...

Drawing inspiration from this powerful and spirit filled text, David Brunner has crafted a melody that inspires. Long musical lines will require careful shaping and the independent yet integral piano...

Celebrating every day 'miracles” and the simplicity of the miraculous in our everyday lives, here is a simple yet profound musical setting of these every day occurrences. Lush piano writing and beaut...

Written in a song-writing workshop with the Ridge High School Choir of basking Ridge, New Jersey, here is a song of hopes. 'I wanna believe in beauty, I wanna be seen in darkness, I wanna be heard in...

Eine Klavierbegleitung, die an ein Banjo erinnert, und expressive Fiddle-Stylings verleihen dieser traurig klagenden und bewegen Vertonung von Stephen Fosters klassischem Lied Hard Times Come Again No...

To Shiver the Sky is an oratorio about the history of flight, and mankind's quest to conquer the heavens. Told through the words of 11 of our greatest astronomers, inventors, visionaries and pilots, i...

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.