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October 24th

STANTON’S SPOTLIGHT on Elementary Choir

Each year, the knowledgeable staff at Stanton’s chooses select titles to promote to you, our valued customers. … read more

October 23rd

Have a “Jolly Jingling” Christmas!

Feature your elementary choir this winter with one of these great octavos, as featured on Stanton’s Elementary General… read more

October 25th

No popcorn required!

No popcorn required! CJO’s “A Night at the Movies” featuring Carly Thomas Smith | Jazz Arts Group of Columbus www.jazzartsgroup.org… read more

October 24th

What we REALLY want to know is, why was he playing his clarinet in the woods?

What we REALLY want to know is, why was he playing his clarinet in the woods? Clarinet mistaken for shotgun: Westlake… read more

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Rejoice In The Lamb
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Title: Rejoice In The Lamb


Voicing/Format: SATB
Publisher: Boosey & Hawkes Inc
Composer: Britten, Benjamin
Catalog #: 48008987
Description: M060015120 Lcb19 Price: $10.95

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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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