Raisins and Almonds (SSAA version)
For SSAA chorus a cappella
Daniel Paulson and VoxMusica commissioned this beautiful a cappella arrangement of Avrom Goldfaden’s beloved Yiddish lullaby. A beautiful solo verse is followed by a lush contrapuntal setting your singers and audience will find very meaningful. 
SKU: PHD-004
Categories: Choral Music, Treble Voices
| Descriptive Tags: | Jewish, Lullaby |
| Difficulty: | Advanced Student |
| Voicing: | SSAA |
| Sacred or Secular: | Secular |
| Language: | Yiddish |
$2.00
This title is available in print or for immediate download. For both options, there is a minimum required quantity of 8 copies for choral titles. Please support self-publishing composers by ordering the quantity according to the number of singers in the ensemble that will perform the work.
Print orders are printed on demand and shipped by our printing partner, and can be expected to be processed within a few days of the order. Please do not hesitate to contact [email protected] to follow up.
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Title | View | Voicing | Duration | Language | Composer | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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| SATB ⋅ Unison | 4'50" | English | This light-hearted holiday song was commissioned by a local community chorus, one of whose members wrote the words. I was asked to include a part for children’s choir, and I understand everyone enjoyed taking part. It has a simple message – to chase away the gloom, and spread light and happiness to all at Christmas […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This light-hearted holiday song was commissioned by a local community chorus, one of whose members wrote the words. I was asked to include a part for children’s choir, and I understand everyone enjoyed taking part. It has a simple message – to chase away the gloom, and spread light and happiness to all at Christmas […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'36" | Latin | This energetic setting of Gloria in excelsis Deo, from the Latin Mass, opens with rhythmic patterns that enhance the text. Midway through, the chorus softly occults between two simple chords under an alto then baritone soloists. The opening patterns return before a fugal section at the text “cum santo spiritu.” The final Amen is another […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This energetic setting of Gloria in excelsis Deo, from the Latin Mass, opens with rhythmic patterns that enhance the text. Midway through, the chorus softly occults between two simple chords under an alto then baritone soloists. The opening patterns return before a fugal section at the text “cum santo spiritu.” The final Amen is another […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Each round 1′30″ to 2′ (in performance) | English | The voice of the English-speaking working classes is preserved in the rich body of song that developed in the centuries leading up to the Industrial Revolution and in the years surrounding the Great Depression. The songs abound with hope, despair, delight, passion and humour. This original collection of 12 folk-inspired rounds borrows lyrics from English […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| The voice of the English-speaking working classes is preserved in the rich body of song that developed in the centuries leading up to the Industrial Revolution and in the years surrounding the Great Depression. The songs abound with hope, despair, delight, passion and humour. This original collection of 12 folk-inspired rounds borrows lyrics from English […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB ⋅ SSAATTBB | 3' | Latin | O Lux is at once reminiscent of Renaissance motets and at home in the contemporary canon. The lyrical and ultimately transcendent piece features a cascading theme that is layered canonically. The piece has been performed by both high school and professional choirs. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| O Lux is at once reminiscent of Renaissance motets and at home in the contemporary canon. The lyrical and ultimately transcendent piece features a cascading theme that is layered canonically. The piece has been performed by both high school and professional choirs. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 2'20" | English ⋅ Latin | A lovely setting of the well-known communion prayer by Thomas Aquinas (1225-1274), this version has the choir sing both the original Latin and later in English translation. This anthem is indicative of my compositional style, including rapidly shifting harmonic centers. However, it is very approachable for both the singers and listeners, employing simple four-part harmonies […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| A lovely setting of the well-known communion prayer by Thomas Aquinas (1225-1274), this version has the choir sing both the original Latin and later in English translation. This anthem is indicative of my compositional style, including rapidly shifting harmonic centers. However, it is very approachable for both the singers and listeners, employing simple four-part harmonies […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'50" | English | This arrangement opens by lining out the plainsong chant over a drone. Then, in succeeding verses we hear it in organum before more complex harmonies and rhythms are added. Finally all voices sing the melody in canon before a concluding fantasia. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This arrangement opens by lining out the plainsong chant over a drone. Then, in succeeding verses we hear it in organum before more complex harmonies and rhythms are added. Finally all voices sing the melody in canon before a concluding fantasia. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 3' 17" | English | This Easter anthem sets selected words from a famous text by George Herbert. It is scored for large SATB choir with divisi and organ. Although highly suitable for use by church choirs at Eastertide services, it also forms the triumphant climax of the contrasting set of “Three Anthems”, commissioned by the Purbeck Arts Choir. The […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This Easter anthem sets selected words from a famous text by George Herbert. It is scored for large SATB choir with divisi and organ. Although highly suitable for use by church choirs at Eastertide services, it also forms the triumphant climax of the contrasting set of “Three Anthems”, commissioned by the Purbeck Arts Choir. The […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 4'23" | This lively arrangement in 7/4 meter re-fashions Lowry’s familiar hymn into a rhythmically-charged spiritual, using an unequal four beats per measure to carry the listener along on a joyous spiritual journey along the celestial river. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This lively arrangement in 7/4 meter re-fashions Lowry’s familiar hymn into a rhythmically-charged spiritual, using an unequal four beats per measure to carry the listener along on a joyous spiritual journey along the celestial river. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SATB | 5' 20" | English | Forget the traditional setting of “We thee kings of Orient are”! This is a much more reflective version, for choir and orchestra, given its first performance by the Nidarosdomens Guttekor in the splendid setting of Trondheim Cathedral in December 2017. They also performed the piece on their pre-Christmas tour, using just organ for accompaniment. The […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| Forget the traditional setting of “We thee kings of Orient are”! This is a much more reflective version, for choir and orchestra, given its first performance by the Nidarosdomens Guttekor in the splendid setting of Trondheim Cathedral in December 2017. They also performed the piece on their pre-Christmas tour, using just organ for accompaniment. The […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| SA ⋅ SATB | 4'40" | English | This carol originated in the city of Wexford in the southeastern Republic of Ireland. It was transcribed from a local singer by the noted Irish author, composer, musicologist, and historian W. H. Grattan Flood (1859–1928). It eventually made its way into the Oxford Book of Carols. It has a modal (Mixolydian) feel, constantly shifting between […] | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| This carol originated in the city of Wexford in the southeastern Republic of Ireland. It was transcribed from a local singer by the noted Irish author, composer, musicologist, and historian W. H. Grattan Flood (1859–1928). It eventually made its way into the Oxford Book of Carols. It has a modal (Mixolydian) feel, constantly shifting between […] | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||