From Children's Voices

From A Ceremony of Carols op. 28-Set to Robert Southwell's wonderful Welsh text by Benjamin Britten. Arranged for 3 part Treble voices and Harp or Piano Accompaniment with both the original Welsh text and the English translation.

Carol Collection-Carols for Everyone is a brand new collection of seven festive pieces written specifically for both adult and children's voices to sing together. Making Music commissioned Carols for Everyone to help fill the gap in choral repertoire for combined adult and children's voices and in doing so bring more people and communities together to make music.The collection funded by the Carnegie UK Trust and published by Novello includes six arrangements of well-known carols and six arrangements of well-known carols from Silent Night and Adam lay ybounden to The angel Gabriel and Rudolph the red-nosedreindeer and an original piece by Paul Mealor. Every piece can be performed by SATB adult choir and children or by children with piano accompaniment alone making this group of pieces flexible and approachable for all.   According to a review in Sunday by Sunday from the Royal School of Church Music 'the arrangement of Rudolph The Red-Nosed Reindeer will bring the house down.'

For Children's and Female Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for children's and female voices. The lyrics in this Urtext edition are in the original languages, but literal English translations are provided in the appendix, which also includes English versions of those of the 27 Two- and Three-Part Choruses that were authorized by the composer.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for male voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

A fantastic collection of smash songs specially selected for children's voices. These ten great songs from Disney Movies are arranged for children and features a companion demonstration CD. This houses performances of each piece by children soloists from the Milwaukee Children's Choir, and also an accompaniment for practice. Each song is set for Voice, Piano and Guitar chords.

For Male Voices. Béla Bartók Complete Critical Edition (Z. 15009), this volume includes Bartók's complete works for children's and female voices. The lyrics in this Urtext edition are in the original languages, but literal English translations are provided in the appendix, which also includes English versions of those of the 27 Two- and Three-Part Choruses that were authorized by the composer.The edition is complete with an informative preface (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.This volume is also available cloth-bound, along with the volumes for male voices and for mixed voices, in slipcase (Z. 20076). Separate editions of each work included in this volume are also available.

5 Lieder für Kinder im Grundschulalter - Klavierpartitur-5 popular children songs from TV series movies or musicals arranged for children\'s choir in two voices. This Piano score comes with a CD that contains the Piano play alongs.

This version of the work composed for Children's Voices Piano and Percussion was commissioned by the Young People's Chorus of New York City. Conductor's Score and Percussion Parts are available from the Publishers. Text:Peter Porter

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

14 Lieder für Kinderchor-The cycle of 14 songs for Children's Choir The Twig Is Turning Green traces the seasons of the year from spring to winter. The songs are written specifically for children's voices to be sung in unison with Piano accompaniment; Eben wrote some of the songs for two or three parts all of which are simple to master while others also have solo voices woven into the choral line.The independent parts of the cycle appeared gradually for practice purposes from very simple songs to those which require greater focus on intonation. At the same time the composer achieved something unusual in that these choral songs even several generations later soundlike modern pieces intended for the concert platform and for public performance yet they also hold the attraction of songs which the children love singing for their own enjoyment.Contents:Fruhlingssonne [Ctvrtek Vaclav]Fruhlingslied [Ctvrtek Vaclav]In unserem Garten [Ctvrtek Vaclav]Die Weidenpfeife [Seifert Jaroslav]Fruhling will kommen [Bojar Pavel]Hahn und Henne [Hrubin Frantisek]Wenn nichts war [Carek Jan]Liedchen fur die Mutter [Krystofek Oldrich]Herbstlied [Ctvrtek Vaclav]Regentropfen [Krystofek Oldrich]Schwalben und Schnee [Carek Jan]Schnee [Ctvrtek Vaclav]Spatzenlied [Ctvrtek Vaclav]Lustige Schlittenfahrt [Ctvrtek Vaclav]

The latest addition to the bestselling Little Voices series features five favourite Songs From The Movies specially arranged in two parts for young groups and choirs. Featuring some invaluable performance hints and tips this is the complete teaching package for some fantastic songs. With five favourite songs from the major animated movies 'Frozen' (Let It Go) 'Despicable Me' (Happy) 'The Lego Movie' (Everything Is Awesome) 'Kung Fu Panda' (Kung Fu Fighting) and 'Toy Story 3' (Le Freak) not only is this a fantastic way to introduce young beginners to part-singing these are also catchy and familiar songs that children will love to sing. Every song appears in standard notation with the two vocal parts as well as the Piano Accompaniment with chord names. Little Voices also includes some invaluable tips for teaching learning and performing these songs both in general and specific to each tune written by the arranger Barrie Carson-Taylor. This makes learning them as easy as possible and coupled with the enjoyable melodies as enjoyable as possible. For young beginners who are just starting out with part-singing this is the perfect package to get children singing songs they know and love. The popular melodies wonderfully arranged harmonies and essential hints make Little Voices - Songs From The Movies a brilliant choice for young choirs and groups.

The New Novello Book Of Short and Easy Anthems For Upper Voices is a wonderful collection and an invaluable resource for Upper Voice choirs who have the desire to sing a variety of beautiful anthems, but who have an unfortunately limited amount of rehearsal time. Selected and edited by David Hill, this collection includes anthems that are easy to learn, enjoyable to sing but also sound simply fantastic.Some works included in this collection are universally-loved, pieces like Ave Maria by Marcel Dupré, The Lord's Prayer by John Tavener and James Whitbourn's wonderful A Prayer Of Desmond Tutu. Despite the title of Short And Easy, these pieces are anything but mundane or tired, they are all exciting, versatile and enjoyable, making this collection perfect for any choir. The collection is an antidote to the fact that many choirs have to rehearse on a limited time, with limited resources. Learning from this collection is quick and efficient, but the songs don't compromise in beauty.With a range of styles, and settings for Eucharist and Evensong, this collection offers a carefully-chosen diversity for Upper Voice Choirs large and small. With James Davy's Sun Of My Soul, Philip Moore's Listen To The Song Of The Children and Elizabeth Poston's The Dormouse's Carol, the selection here is brilliant, including pieces for all occasions and events throughout the year. This makes Short And Easy Anthems indispensable for Upper Voice Choirs and directors who will instantly be able to draw from a wealth of songs that can be learnt quickly. The works here include simple unison settings, while most of them can be performed with some flexible scoring, allowing the music to be opened up to wider choirs.Featuring a vast number of anthems that can be learnt and sung quickly, The New Novello Book Of Short and Easy Anthems gives Upper Voice choirs a grand selection of songs that will prevent a reliance on the same ones. Whether your choir is large or small, the music contained within this collection is perfect for beautifully versatile melodies that can be learned very easily. / Choeur SSA Et Piano

Music runs through the story of Arion which begins with a singing competition in Sicily. Arion wins the prize and this puts his life in danger: his newfound wealth excites the greed of the sailors who are supposed to be bringing him back to Corinth and they threaten to kill him. They allow Arion to sing one last song and the power of his singing attracts dolphins to the ship.  At the end of his song he jumps overboard and one of the dolphins carries him to safety.  So Arion’s musical gift gets him into trouble but it is also his salvation.   The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’account of the myth the dolphin could not bear to be parted from Arion and accompanied him back to court where “it soon succumbed to a life of luxury.”  However Herodotus says that after his rescue and return to Corinth Arion failed to return the dolphin to the sea and it died there.  Apollo placed the dolphin among the stars and next to it Arion’s lyre in recognition of his musical skill.  This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra. It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music something that would be within reach of many choirs and involve children this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors and the women could create an atmosphere of mystery for the arrival of the dolphins represented by children’s voices. There would be one solo voice: Arion the marvellous singer. Andrew Fardell the conductor who was advisor to this commission had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana a work that as well as using children’s chorus features a solo countertenor. I thought the magical otherworldly quality of this