Scores

6 scores found that match your search
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Liesbeth Decrock

The original version of Fruit salad for the choir is in Dutch: discover Fruitsla voor het koor here.

SATB with piano
PDF
Description
Michael Vancraeynest

Michaël Vancraeynest (°1976) wrote Tell the Lord how thankful you are for the colloquium for liturgical music that took place in Vaalbeek in August 2016. Vancraeynest's work is a setting of Psalm 118 for two equal voices and piano. The psalm opens in unison with a cheerful melody, which is then repeated with the addition of a counter voice. The middle section changes in text and key. Smooth composition for equal voices choirs who are looking for liturgical repertoire.

SA with piano
PDF
Stijn Dierckx

In 2016 Stijn Dierckx composed the suite Phenomenae Naturae for SATB and piano, where five natural phenomena are portrayed through texts of British and American authors. Luce Prima was written as an addition to and the beginning of Phenomenae Naturae. It portrays the sunrise and nature’s awakening.

SATB with piano
PDF
Video or audio
Description
Liesbeth Decrock

This composition has as only text different sorts of fruit in English. Throughout the piece, the salad is prepared by the way of singing in the choir, but also by a percussionist who cuts the pieces in a rythmical way. In the ultimate minutes of the composition, the choir eats the fruit salad. Voices disappear one by one, untill the bowl of fruit salad is empty. 

SATB with piano
PDF
Video or audio
Alain Craens

Studying and performing A lullaby not only gives great pleasure in singing, but is also excellent for practicing and experiencing some important aspects of choral singing in detail, partly due to the slow pace. Interpreting the text plays a major role in this song: be aware of word expression, pronunciation and sound.

SAB with piano
PDF
Video or audio
Vigdis Hansa Elst

Fortuna vitrea est is a three-part work with piano accompaniment based on a beautiful saying in Latin. Originally, this piece was written for SSA, but has not yet been performed in that line-up. Especially for Koor&Stem, Vigdis reworked the piece into a version for SAB with piano, the existing material shaped a brand new piece. The composer wrote a number of pages around the text Fortuna vitrea est tum cum splendit (Happiness is like glass, when it is at its shiniest...) only to unleash onto the audience the pointe frangitur (it breaks) in short notes in the last bar as a finale of the piece.

SAB with piano