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Monday, October 24, 2016
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Uplifting Programmatic Pieces for Strings – Grade 2-2.5
recommended by Dan C., Orchestra Music Specialist The best energetic program pieces of the year for younger string players!… read more October 20th
“This Little Holiday Light of Mine”
recommended by Jen Sper, School Choral Music Specialist Feature your elementary choir this winter with one of these… read more
… read more October 22nd
Spring Choral Reading Session
Join the Stanton's School Choral Music team to review and sing our recommended choral music for finishing out the school… read more
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Title: Rejoice In The Lamb
Publisher: Boosey & Hawkes Inc
Composer: Britten, Benjamin
Catalog #: 48008987
Description: M060015120 Lcb19 Price: $10.95
i-Link Sound File
for SATB with SATB solos and organ Imogen 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 Smart Publisher: Boosey & Hawkes Difficulty level: 3 One 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 keyboard realisations of accompaniments f
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