KVAMusic Edition

Audio Available

Component

Delivery

Ensemble

Eprint Folders

Grade

Instrument

Instrument Family

Instrument Type

Item Sequence

Large Print Edition

Marketed Status

Minimum Sell Quantity

MINTS Data Available

Product Line

Prop65

Score Available

Video Available

Grieg's wonderful piece of music, here in an arrangement for Flute Choir.

Anita's Dance from "Peer Gynt"

Flute Ensemble

Format

Handel’s Messiah
George Frideric Handel (1685–1759), one of the greatest composers of the Baroque era, wrote his oratorio Messiah in 1741 in just 24 days. With a libretto drawn entirely from Scripture by Charles Jennens, the work is divided into three parts: the prophecy and birth of Christ, the Passion and Resurrection, and reflections on redemption and eternal life.
The Christmas section (Part I) is the portion most often performed during the holiday season. It begins with words of comfort and prophecy from Isaiah, moves through joyful choruses such as “For unto us a Child is born,” and includes the serene “Pastoral Symphony” and the angelic announcement of Christ’s birth. The section closes with a spirit of reverent peace, pointing toward the deeper themes to follow.
Although it originally concludes Part II, the “Hallelujah” chorus has become inseparably linked with Christmas celebrations. Its triumphant proclamation of Christ as “King of Kings, and Lord of Lords,” complete with trumpets and drums, has made it one of the most beloved and recognisable pieces in all of Western music.

Roar Kvam, Akureyri, August 26,2025

MESSIAH - The Christmas section and the Hallelujah chorus

Chamber Orchestra Score & Parts

Oskar Böhme. was born February 24, 1870 in Potschappel and died October 3, 1938 in Orenburg). For much of his early career, after studying trumpet and composition in the Leipzig Conservatory of Music until graduating in 1888, it is unknown what Böhme's musical activities were, though it is probable he concertised, playing in smaller orchestras around Germany. 
From 1894-1896 he played in the Budapest Opera Orchestra and then moved to St. Petersburg, Russia, in 1897. Böhme played cornet for 24 years in the Mariinsky Theatre, turned to teaching at a music school on Vasilievsky Island in St. Petersburg for nine further years, from 1921-1930, and then returned to opera with the Leningrad Drama Theatre until 1934. 
In 1934, however, the Great Terror began under Joseph Stalin and in 1936 a committee was established to oversee the arts in Soviet Russia. According to Russia's anti-foreign policies, Böhme was exiled to Orenburg on account of his German heritage. On October 3, 1938, he was sentenced to death and executed by shooting the same day. 
Böhme’s Brass Sextet (Trompeten-Sextett) op.30, composed in 1911, undoubtedly ranks among the finest brass music produced by the romantic era.The title refers to the distinctive symmetry of the instrumentation: four instruments from the trumpet family and framed by two representative of the bugle family.The use of the trumpet was remarkable at the time because the characteristic brass ensembles of the period consisted exclusively of bugle-family instruments. It was for such a group of 2 cornets, alto, tenor and baritone horn, for example, that Viktor Ewald wrote his well known quintets. 
The question of which instrument to use of the exposed and rather high bass part, intended by the composer for the “high Bb tuba” is tricky. A great tubist could play it on an F or Eb tuba, but a more compact ensemble sound is obtainable with a euphonium or small French Bb tuba.

Brass Sextet

Bohme's Brass Sextet (Trompeten-Sextett) op.30, composed in 1911, undoubtedly ranks among the finest brass music produced by the romantic era.The title refers to the distinctive symmetry of the instrumentation: four instruments from the trumpet family and framed by two representative of the bugle family.The use of the trumpet was remarkable at the time because the characteristic brass ensembles of the period consisted exclusively of bugle-family instruments. It was for such a group of 2 cornets, alto, tenor and baritone horn, for example, that Viktor Ewald wrote his well known quintets.

Bohme: Brass Sextet (Trompeten-Sextett) Op. 30

Voice

Voice Category

The Gloria RV 589 is a familiar and popular piece among sacred works by Vivaldi. It was probably written in about 1715-1717.
Vivaldi was asked to write a good deal of religious music for the accomplished musicians at the Ospedale della Pieta, the girls' orphanage in Venice where he served as music director.  In all likelihood, the present Gloria, in which all the vocal solos are for female voices, was written for the girls at the school.  
It is a setting of a single section of a mass, but it is almost certainly a complete work and not a fragment, since it was not uncommon to write individual mass movements for specific occasions.  
Larger pieces for women's/treble voices and orchestra is not common, with this in mind have I arranged the Gloria for three-part chorus of women's/treble voices and a small orchestra.

	1.	Gloria in excelsis Deo (chorus) 
	2.	Et in terra pax (chorus) 
	3.	Laudamus te (2 soprano) 
	4.	Gratias agimus tibi (chorus) 
	5.	Propter magnam gloriam (chorus) 
	6.	Domine Deus (soprano) 
	7.	Domine, Fili unigenite (chorus) 
	8.	Domine Deus, Agnus Dei (alto and chorus) 
	9.	Qui tollis peccata mundi (chorus) 
	10.	Qui sedes ad dexteram Patris (alto) 
	11.	Quoniam tu solus sanctus (chorus) 
	12.	Cum Sancto Spiritu (chorus)

Gloria in D major

SSA Vocal Score

The Messe de Minuit was written around 1694 for the Jesuit church of Saint-Louis in Paris.What is remarkable about this mass is the use of ten French noels (Christmas carols) in the composition.
In the liturgy the birth of Christ is celebrated with three masses: the first during the night of December 24th, the second in the early morning of December 25th, and the third on the day itself. A special atmosphere surrounds the first of these masses on account of the midnight hour, and so Charpentier gave special expression to the long observed practice in France of including popular Christmas carols in the Christmas liturgy by including them in the composition of his midnight mass. Although the Council of Trent had forbidden this kind of borrowing of secular melodies in masses in principle, long established customs were tolerated.

Charpentier: Messe de Menuit Pour Noel

SSAA Full Score

George Frideric Handel (1685–1759), one of the greatest composers of the Baroque era, wrote his oratorio Messiah in 1741 in just 24 days. With a libretto drawn entirely from Scripture by Charles Jennens, the work is divided into three parts: the prophecy and birth of Christ, the Passion and Resurrection, and reflections on redemption and eternal life. The Christmas section (Part I) is the portion most often performed during the holiday season. It begins with words of comfort and prophecy from Isaiah, moves through joyful choruses such as “For unto us a Child is born,” and includes the serene “Pastoral Symphony” and the angelic announcement of Christ’s birth. The section closes with a spirit of reverent peace, pointing toward the deeper themes to follow. Although it originally concludes Part II, the “Hallelujah” chorus has become inseparably linked with Christmas celebrations. Its triumphant proclamation of Christ as “King of Kings, and Lord of Lords,” complete with trumpets and drums, has made it one of the most beloved and recognisable pieces in all of Western music.

Mixed Voices Vocal Score

SSA Instrumental Parts

Claudio Giovanni Antonio Monteverdi (1567, Cremona – November 29, 1643, Venice) was an Italian composer, choirmaster, and string player. A master of both secular and sacred music and a pioneer in the development of opera, he is regarded as a pivotal transitional figure between the Renaissance and Baroque periods of music history.
The “Sonata sopra Sancta Maria” is the most celebrated movement from his Vespro della Beata Vergine (1610). Presented here in a superb arrangement for brass ensemble with an optional unison choir, it captures Monteverdi’s brilliance in merging expressive vocal writing with majestic instrumental textures.

Monteverdi: Sonata sopra Sancta Maria

Brass Ensemble

SSAA Vocal Score

The Mass no. 2 in G major by Franz Schubert, D 167, was composed in 1815.
This is the best known of the three "shorter" mass compositions which Schubert composed between the more elaborate first and fifth masses. In addition, the later Deutsche Messe or German Mass, D 872,and the ultimate sixth mass would be longer.
The mass no. 2, commonly referred to as "Schubert's Mass in G," was composed in less than a week (March 2 to 7, 1815), the year after his first mass had been successfully performed in Schubert's home parish.The second mass was originally more modestly scored than the first, requiring only a string orchestra and organ in addition to the soloists and choir. However, in the 1980s a set of parts for the mass were discovered at Klosterneuburg which are dated later than Schubert's full score.They not only include minor changes throughout the work, which would apparently represent Schubert's "final" intentions,they also include trumpet and timpani parts.
Apart from some passages for the soprano soloist, the solistic interventions are very modest. Characteristically for Schubert, he is more interested in an overall devotional mood of a religious composition than in individualistic romantic text-expression.
In this edition for women's voices, I use Schubert's first version for strings and organ which fits excellently to the sound of the women's choir.

Mass in G

SSAA Instrumental Parts

Jeremiah Clarke's (1674-1707) excellent baroque suite in an arrangement for 3 trumpets, timpani and organ. Superb festive music.

Suite in D

<p>Grieg's beautiful song in a new edition for SSA choir with piano.</p>

Ave Maris Stella

SSA Octavo

<p>The famous Ave Maria in an arrangement for SSA choir with piano.</p>

Ave Maria

Cesar-Auguste-Jean-Guillaume-Hubert Franck (December 10, 1822  November 8, 1890), a composer, organist, and music teacher of Belgian origin, was one of the great figures in classical music in the world during the second half of the nineteenth century. Franck's skill and dedication to the musical organ led him to be a renowned and sought after performer in his own time. A gifted musician, as a young man, Franck gave up his father's wishes and the path of a virtuoso. From 25 years old, he spent his life teaching music and offering his talent in some of the finest churches and basilicas in Paris.
Franck's great orchestral Mass in A major op. 12 of 1861 is one of the works which the composer wrote for liturgical use at St. Clotilde in Paris, the church where he played for many years as a famous organist and organ improviser. Probably because of concerns on the part of his publisher, a few years after Franck composed his orchestral Mass he reworked it for much smaller forces: instead of orchestra, just organ, harp, cello, and double bass are required. It was this version of the work was first published in 1872 in Paris.
The womens choir version was done for my choir Womens Choir Embla and was premiered in the church in Akureyri, Iceland.
Fossbrekka 13th December2008 Roar Kvam

Messe a Trois Voix (Mass in A major Op. 12)

SSA Full Score

This short Requiem by Giacomo Puccini (1858i1924) was commissioned by
  the publisher Giulio Ricordi, who wanted to mark the fourth anniversary (27
  January 1905) of the death of Verdi by celebrating the memory of the iKing
  of 19th century Italian operai with a work composed by his successor on the
  opera stages of the world. According to a note by the composer on the first
  page of the manuscript, the piece was completed on 14 January 1905 in Milan
  and thus it belongs to the period in which the composer from Lucca had
  reached his full maturity, at a point in time between the fiasco of the
  premiere of Madama Butterfly at La Scala, Milan (1904) and the premiere of
  his next opera, La Fanciulla del West (1910). 
    
    Today the work is often performed, since this setting for three voices can
  be easily performed by amateur choirs and requires only a viola (or violin)
  and a harmonium (or organ) as accompanying instruments. 
    
    Our edition is for treble- or female voices choir, viola (violin) and
  harmonium (organ). 
    
    Roar Kvam, Fossbrekka 6th of October 2020

Puccini: Requiem

Full Score & Instrumental Parts

The Gloria RV 589 is a familiar and popular piece among sacred works by Vivaldi. It was probably written in 1715-1717.
Vivaldi was asked to write a good deal of religious music for the accomplished musicians at the Ospedale della Pieta, the girls' orphanage in Venice where he served as music director. In all likelihood, the present Gloria, in which all the vocal solos are for female voices, was written for the girls at the school.
It is a setting of a single section of a mass, but it is almost certainly a complete work and not a fragment, since it was not uncommon to write individual mass movements for specific occasions.
Larger works for women's/treble voices and orchestra is not common, with this in mind have I arranged the Gloria for three-part chorus of women's/treble voices and a small orchestra.
Akureyri 25th of June 2014 Roar Kvam

1. Gloria in excelsis Deo (chorus) 
2. Et in terra pax (chorus)
3. Laudamus te (2 soprano)
4. Gratias agimus tibi (chorus)
5. Propter magnam gloriam (chorus)
6. Domine Deus (soprano)
7. Domine, Fili unigenite (chorus)
8. Domine Deus, Agnus Dei (alto and chorus) 
9. Qui tollis peccata mundi (chorus)
10.Qui sedes ad dexteram Patris (alto) 
11.Quoniam tu solus sanctus (chorus) 
12.Cum Sancto Spiritu (chorus)

Global Sections - CORE [DO NOT TOUCH]*

Favicon

Need Help? Contact Us or call 1-800-345-6296    Live Chat

Header

Don't have a business account? Create one

Products