Laudate Dominum
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Laudate Dominum : Vocal score

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Description

for soprano or mezzo-soprano solo, mixed chorus, and orchestra This spirited and attractive work is a setting of the Latin version of Psalm 148, one of the most celebrated and joyful hymns of praise to the Lord of heaven. Conjuring a rich tapestry of sonorities and textures, Andrew Carter has created a highly tuneful work in eight well-contrasted movements full of joy and vivid in colour. Laudate Dominum is original and approachable - suitable for all choral societies. Full scores and orchestral material are available on hire.show more

Product details

  • Sheet music | 40 pages
  • 209 x 298 x 4mm | 148g
  • Oxford University Press
  • Oxford, United Kingdom
  • English, Latin
  • 0193355043
  • 9780193355040

Table of contents

Laudate Dominum ; Sol et luna ; Quia ipse dixit ; Laudate Dominum de terra ; Dracones et omnes abyssi ; Montes et colles ; Juvenes et virgines ; Confessioshow more

About Andrew Carter

Andrew Carter was born in 1939 into a Leicestershire family of tower and handbell ringers. Following a music degree at the University of Leeds, he joined York Minster Choir, and was subsequently Director of Music at the Bar Convent Grammar School, where he achieved his first successes as a choir trainer. His wealth of experience of directing both mixed-voice and upper-voice choirs has given him a deep understanding of the voice, expressed by a lyricism and sense of drama underpinned by distinctive, often bitter-sweet harmonies. His vast collection of anthems and Christmas carols, together with a substantial number of large-scale choral works, have earned him a reputation as one of Britain's most respected contemporary choral composers.show more

Review quote

The musical style is vintage Carter, attractive rhythmically and in a tonal language that won't frighten the horses. Textures are often quite rich with regular subdivision into eight parts for the homophonic sections and, as always, there are some good melodies that your singers will continue to hum during the rehearsal coffee-break . . . Definitely one to go on the "consider at next programme planning meeting" pile. * Jonathan Willcocks, Mastersinger Spring 2002 * It is difficult to judge the full effect of the orchestral writing simply from the cues in the vocal score, but the vocal writing and the piano reduction, together with the cues, suggest that Carter's imagination has been working in top gear with the essence of the text captured in eight contrasting movements . . .. Movements six and seven reveal the composer at his most humorous. * Christopher Field, Music Teacher, August 02 *show more