Bergerettes also known as Shepherdess' Airs were an form of early rustic French song. French composer Jean Baptiste Weckerlin's (1821-1910) arrangements of these popular songs for Voice and Piano are a sublime addition to the repertoire. The Bergerette is traditionally in strophic form. Weckerlin's 20 harmonisations of some of the most favourite French Bergerette provides truly sublime additions to the vocal repertoire. For all aspiring vocalists Weckerlin's arrangements of traditional Bergerettes cannot be missed.

Alapa-Tarana Op.41 for Mezzo-Soprano and Percussion was composed by Poul Rovsing Olsen in 1959. Programme note: I was encouraged by the singer Jolanda Rodio to write a piece for mezzo-soprano and percus­sion. In my mind the idea immediately awoke associations of Indian or Arab music in which the combination of drums together with either an instrument or voice is very common. In a solo performance (as opposed to choral and ensemble performances) the piece is called a 'raga' or a 'macam'. A 'raga' or 'macam' is a scale and at the same time a number of melodic formulas. Further­ more it is a spiritual concept a specific'raga' or 'macam' expressing a specific emotion. My piece is not based on any traditional Indian 'raga' or Arab 'macam'. The 'raga' in my piece is entirely my own invention. The title is derived from Indian music an ''Alapa' being the first unaccompanied part of a 'raga'. Traditionally in the 'Alapa' the characteristics of the 'raga' are first presented improvisationally without strict metre followed by a section in which the drums set in. The latter can have various forms. I have chosen a variation form called 'Tarana'. (Poul Rovsing Olsen 1960)

After the success of 'Christmas a cappella' (BA 7573) for mixed choir Graham Buckland has now turned his attention to an edition for female voices. This collection includes popular Christmas melodies in traditional as well as more popular settings from many countries around the world including USA UK France Germany Austria Poland and the Czech Republic. All pieces are arranged for two female voice parts with a piano accompaniment but a third optional voice part is also included in many cases. This edition presents one of the most comprehensive collections of Christmas choral settings for female voices.Collection of international Christmas songs forfemale voicesFor two to three parts with piano accompanimentTraditional as well as more popular settingsAll song texts in German and English A selection:A child this day is born / Adeste fideles / Angels from the realm of glory /A virgin most pure / Away in a manger / Deck the hall! / Entre le b?uf et l? ne gris / Es ist ein Ros entsprungen /Fröhliche Weihnacht überall! / Go tell it on the mountain / I saw three ships / Joy to the world / Les anges dans nos campagnes /Macht hoch die Tür / Nun komm der Heiden Heiland /O Heiland reiß die Himmel auf / O Jesulein süß / Orientis partibus / Quando nascette Ninno / Stern über Bethlehem /The angel Gabriel from heaven came / The Carol of the Drum /The first Nowell / We wish you a merry Christmas /Wie schön leuchtet der MorgensternThe editorGraham Buckland is a conductor and composer and studied in Cambridge London and Brno. He is now university music director in Regensburg.

From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score & Parts for Flute 1 & 2 alto recorder Oboe/English Horn Clarinet 1 & 2 Bassoon Horn 1 & 2 Trumpet 1-3 Trombone 1 & 2 Bass Trombone/Tuba Timpani Percussion Acoustic Guitar Banjo Harp Piano Synth Solo fiddle Violin 1 & 2 Viola Cello Double Bass) Printed Full Orchestration Appalachian Consort Orchestration (Score & parts for Flute Violin Cello Mandolin Guitar Percussion and Piano) StudioTrax CD (accompanimentonly) SplitTrax CD Listening CD 10-Pack Listening CDs Preview Pack (Book/CD combo) RehearsalTrax CDs (part predominant reproducible) Digital Resource Kit (PowerPoint Choir Devotionals Poster Program Flyers Children'sProgram PDFs). Duration: approx. 40 min.

Kirk Franklin Choral Series-Lois Brownsey and Marti Lantz have captured the spirit of Native American music and made it accessible to children without losing the poetry and emotion traditional to this genre. “Two Native American Songs” may beused separately or together for performance. “Cherokee Lullaby” incorporates a traditional Indian lullaby with a warm and moving original text. “Native Dance” partners an original Kiowa Round Dance withIndian syllables and new text which tells the story of the traditional dance. Movement instructions are included. This is an excellent opportunity to explore Native American culture and music for concert use or to enhanceclassroom learning.

Tonalité : C-Dur - Mh 182. Par HAYDN JOHANN MICHAEL. Haydn’s Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron “Saint of bridges, ” Johannes Nepomuk [ca. 1340–1393, canonized in 1729]. Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn’s second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi [1776], the Nepomuk Mass does not employ vocal soloists. / Messe / Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Trompett

Although almost unanimously condemned by contemporary Parisian critics for its overt sexuality and graphic final scene Carmen ultimately reached the public in a way that perhaps no other opera has. Bizet's aim (with Meilhac and Halevy who wrote the libretto) had been to transform the flaccid moralistic bourgeois genre of opéra comique into a more sophisticated type of staged work and he seems to have suceeded in Carmen. Each character has a musical significance and a unique expressive idiom the ultimate example being the dangerous exotic sensual Carmen herself depicted by an exotic and sinewy chromatic motive that also implies the insurmountable power of fate. Ina classic plot device she is contrasted with the 'good girl' of the opera Micaela whose main aria is set in the ternary form of the elevated bel canto French Grand Opera aria to imply her traditionally 'ladylike' retiring nature. Don José's musical styles reflect different levels in his descent from dutiful soldier to the underworld of obsession. This is the Schirmer edition of the Vocal Score with an English translation by Ruth and Thomas Martin.

Canzone D'l Zampognari-This Sicilian carol is traditionally played on bagpipes by shepherds who serenade Italian villagers the nine days before Christmas. This SAB and 2-part captures the style of the carol and tells the Christmas story with simpleunison and harmony throughout. Available separately: SAB 2-part StudioTrax CD. Duration: ca. 1:50.

Tonalité : C-Dur - Mh 182. Par HAYDN JOHANN MICHAEL. Haydn’s Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron “Saint of bridges, ” Johannes Nepomuk [ca. 1340–1393, canonized in 1729]. Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn’s second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi [1776], the Nepomuk Mass does not employ vocal soloists. / Messe / Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Trompett

6 Traditionals Aus Irland Und Schottland Für S/Sa/Sab Und Klavier. Les plus belles chansons folk irlandaises et écossaises adaptées à de jeunes choeurs : le spectre stylistique de ce volume s'étend du lyrisme doux de chansons d'amour à des histoires de voleurs et des récits de marins. Les fans de rock'n'roll seront également satisfaits, comme tous les amateurs de chansons au rythme enlevé. Cet heureux mélange de pièces variées permet aux chansons d'être présentées non seulement individuellement, mais aussi à plusieurs au sein d'un programme de concert cohérent. Tous les morceaux contiennent un accompagnement de piano dont les accords sont annotés sur la partition. / Niveau : Facile à Moyen / Recueil / Choeur (S/SA/SAB) et Piano

Standard Version with sung recitatives-Although almost unanimously condemned by contemporary Parisian critics for its overt sexuality and graphic final scene Carmen ultimately reached the public in a way that perhaps no other opera has. Bizet's aim (with Meilhac andHalevy who wrote the libretto) had been to transform the flaccid moralistic bourgeois genre of opéra comique into a more sophisticated type of staged work and he seems to have suceeded in Carmen. Each character has a musicalsignificance and a unique expressive idiom the ultimate example being the dangerous exotic sensual Carmen herself depicted by an exotic and sinewy chromatic motive that also implies the insurmountable power of fate. In aclassic plot device she is contrasted with the 'good girl' of the opera Micaela whose main aria is set in the ternary form of the elevated bel canto French Grand Opera aria to imply her traditionally 'ladylike' retiring nature.Don José's musical styles reflect different levels in his descent from dutiful soldier to the underworld of obsession.This is the Schirmer edition of the Libretto in the original French with an English translation by Ruthand Thomas Martin.

In 1576 various political decisions plunged the city of Prague into a period of artistic and cultural diversity. This volume presents some of the richest musical treasures it is a collection of eleven works by de Kerle Regnart Gallus and de Monte; motets for the main feasts of the church year are included as well as Gallus’s famous Holy Week motet 'Ecce Quomodo Moritur' traditionally sung in Lutheran Germany after the J.S. Bach Passions.

14 lovely traditionals from all over the World-The 'Choir Books' by Carsten Gerlitz have long been an inside tip among lovers of popular choral music. Clever arrangements which are nevertheless quite easy to sing set modern accents and bring a fresher feel to the programme. The present Folk Choirbook takes a musical journey around the world containing 15 choral settings of famous folk melodies from Africa Australia Germany India Ireland Israel Japan Mexico USA Scotland and Sweden. A treasure trove for choirs interested in the great variety and beauty of vocal music from all over the world.

fur Pop- und Jazzchor-A new choral series that sets a new standard: Familiar traditionals are replaced by legendary pop and jazz classics the arrangers among them Jens Johansen Bertrand Gröger Oliver Gies Thierry Lalo Dylan Bell rank among the great figures of the European choral scene and the book comes along in an absolutely choir-friendly format: as a handy modern separate edition at an affordable price a valuable addition for all jazz pop and gospel ensembles looking to add new pieces to their repertoire.further editions: Straighten up and Fly right / Smells Like Teen Spirit / African Call / Washing of the Water / Blues on Sunday / As

Tonalité : C-Dur - Mh 182. Par HAYDN JOHANN MICHAEL. Haydn’s Missa Sancti Joannis Nepomuceni, dated 21 May 1772, is dedicated to the Bohemian martyr and patron “Saint of bridges, ” Johannes Nepomuk [ca. 1340–1393, canonized in 1729]. Despite the addition of woodwinds and brass to the three-part string section, the Mass is in a comparatively simple, compact form as was expressly required by Count Hieronymus Colloredo, Haydn’s second employer in Salzburg. Even in the final sections of the Gloria and Credo Haydn forgoes not only vocal virtuosity, but also the polyphonic artifices which traditionally characterize these passages in the Mass. Like the Missa Sancti Amandi [1776], the Nepomuk Mass does not employ vocal soloists. / Messe / Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Trompett