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The Hunger Games: Catching Fire
The music of James Newton Howard, composed for “Catching Fire”, is now available for piano solo! Eleven… read more
“Beautiful” , the Carole King musical
Twenty five of Carole King’s best songs have been pulled together to make a new musical, “Beautiful“,… read more
The Hunger Games: Catching Fire stantonssheetmusic.wordpress.com The music of James Newton Howard, composed for "Catching… read more
A great, succinct piece of advocacy for all of us!
A great, succinct piece of advocacy for all of us! How playing an instrument benefits your brain - Anita Collins… read more
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Title: Rejoice In The Lamb
Publisher: Boosey & Hawkes Inc
Composer: Britten, Benjamin
Catalog #: 48008987
Description: M060015120 Lcb19
for SATB with SATB solos and organImogen Holst orchestrated the work for wind quintet, percussion, organ (ad lib) and strings (1952), and there is also a version for SSAA and organ arranged by Edmund Walters (1966)Text: Christopher SmartPublisher: Boosey & HawkesDifficulty level: 3One of Britten's most popular and performed works in this genre, Rejoice in the Lamb was written for the 50th anniversary of St. Matthew's church, Northampton in 1943. The remarkable vicar, Walter Hussey, was a great patron of the arts. His vision for St. Matthew's and later for Chichester Cathedral, where he moved to become Dean, is one of the most fascinating stories in the history of the Anglican Church in the last century.Britten called his work a Festival Cantata and it is structured with choral and solo movements. The text by the supposedly mad Christopher Smart (1722-1771) is part of a poem called Jubilate Agno which he composed in a mental asylum having been committed there by his father-in-law for apparent religious mania. He died in a debtors' prison. It was W.H. Auden who brought the poem to Britten's attention. It is easy to see why Britten was so attracted to Smart's poem. It has great colour, drama, bizarre imagery, and the central issue of the individual against the crowd, or against authority, was one to which Britten was to return repeatedly in his works. Britten had developed a deep interest in Purcell's music at this time and had made keyboa
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