Eight seasonal carols for mixed choir-Eight popular carols for SATB choir unaccompanied. This collection presents some of most attractive carols by the composer Charles Wood and the hymnodist antiquarian linguist and musician G.R. Woodward who both composed his own music and provided many of the texts set by Wood. Seven of the included carols are for Christmas with the remaining one for Easter.

Charles Wood. The music of Charles Wood is a fine example of the 'English Romantic' school of composition. Originally published by Novello and out of print for some time H.T. FitzSimons is pleased to make these fine organ selections available once again in one complete volume. Many of the settings are based on hymn tunes for which there are no other organ settings available.

Hail Gladdening Light is an expressive anthem for Double Choir as composed by Charles Wood with words by John Keble.

Charles Wood's Full Fathom Five for SATB choir unaccompanied. This work is a setting of text from The Tempest Act 1 Scene 2 by William Shakespeare. Duration: 2 minutes. A Piano accompaniment is included for rehearsal purposes only.

Mists Before The Sunrise Fly is a part-song written in 1936 for two Voices and Piano by Geoffrey Shaw setting a poem by his daughter Margaret Shaw. It takes the tune from an earlier work Siciliano by the English composer Thomas Arne (1710-1778) who is best known for writing the patriotic song Rule Britannia! while working at the Drury Lane Theatre in London. GeoffreyShaw (1879-1943) was a British composer organist and teacher. He was a chorister at St Paul’s Cathedral before going on to study under Charles Stanford and Charles Wood. He later became a teacher and an inspector for theBoard of Education.

100 Settings for SA MEN-One thing is for sure: this is the only carol book you need this Christmas!This collection is a real treasury of the most popular Christmas carols specially arranged for the parish choir where tenors and basses sing justone part. The Ultimate SA Men Carol Book consists of 100 carols in total many with descants including the classic arrangements of Charles Wood and John Stainer plus newer settings by Malcolm Archer RichardLloyd Sarah Watts and others - a sackful of music for the busiest season of the year!

POD Vocal Score-St. Mark Passion is a work by John Joubert for two Tenor and three Baritone soloists SATB Chorus Solo Cello and Organ. First performed in Wells Cathedral on Palm Sunday 20th March 2016 by Wells Cathedral Choir it was commissioned by 'Cathedral Commissions' of Wells Cathedral. A full performance lasts around 45 minutes and this is the Vocal Score. 'The work lasts about 45 minutes and rather like the St. Mark Passion by Charles Wood uses various pre-existant hymns to fulfill a similar function to the chorales in Bach's Passions. The scoring of solo Cello and Organ is skillfully handled so that the quasi-recitativenarrations feature both instruments to varying degrees the Cello often taking lead balancing the inevitably greater presence of the Organ in the hymns. Joubert's choice of hymns is impeccable (plainsong Bach Gibbons...) ending with 'When I survey the wondrous cross' and the idiom of the freely composed sections is given consistency through use of a gently undulating motif to accompany Christ's words (reminiscent of the opening of Vaughan William's Symphony no.5) and a chromatic motif in agitated sections (which happens to be the same as Shostakovich's DSCH theme). Although considerable demands are made on the instrumentalists and lead soloists the choral writing is rarely difficult and could be tackled by many choirs; I have no doubt that the work would be extremely effective in performance.' - Geoffrey Webber Choir & Organ Magazine

Arthur Bliss was born in London on 2 August 1891. For over 50 years he was a familiar and central figure on the English musical scene. He was educated at Rugby and at Pembroke College Cambridge where he studied with Charles Wood. He attended the Royal College of Music for a single term before the First World War broke out and interrupted his studies for the duration.Fanfares composed for the wedding of HRH Princess Margaret in Westminster Abbey 1960.The Sovereign’s FanfareFanfare for the BrideInterlude (this can be played before the National Anthem in A.)Royal FanfareA wedding FanfareRoyal Fanfare

Hail Gladdening Light was written at the request of Matthew Owens for the choir of Wells Cathedral and was first performed at Candlemas 2006. The composer has long been an admirer of the setting by Charles Wood and so wanted to create a work with a completely different atmosphere particularly focusing on mystical light. The opening and closing sections make use of the Gregorian Chant for Candlemas – a troped setting of the Nunc dimittis. Where these chanted sections occur they should be unconducted and sung with the freedom and tempo of plainsong. The emphasis throughout the whole piece should be on luminosity. This piece isfrom Faber's Choral Signature Series which introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. the series draws in a rich diversity of living composers and includes both lighter and more challenging contemporary works offering a thrilling array of varied styles.

Mater Ora Filium is an Irish folk song arranged as a carol to anonymous 15th-century words by Charles Wood. This version has been re-arranged for treble voices (two-part with optional solo) and organ by Harrison Oxley.

Les pratiques collectives représentent des occasions privilégiées pour l'élève musicien de s'épanouir tant artistiquement qu'humainement. Elles contribuent à la motivation dans la pratique par le plaisir de jouer avec d'autres instrumentistes.
Ce recueil de musique d'ensemble propose 5 pièces originales destinées à des élèves débutants, incluant les pianistes, si souvent isolés des pratiques collectives dans les premières années d'apprentissage.
La diversité des styles proposés permet d'aborder des couleurs et ambiances sonores nuancées, dans un souci d'esthétique et d'expressivité. Ceci afin que le musicien débutant développe, outre la technique instrumentale, son potentiel artistique.
Christelle Esteban
Presse
Les professeurs de musique ont vite compris l'importance de la musique de chambre dès les premières années d'apprentissage pour consolider les bases de rythme, de lecture et d'écoute. Or, il n'est pas toujours facile de trouver des partitions adaptées au niveau des débutants, surtout quand il s'agit d'un ensemble d'instruments variés. L'ouvrage conçu par la pianiste et professeure Christelle Esteban vient enfin combler ce vide, en proposant cinq pièces de style divers. Si la partition fait appel à un saxophone, une clarinette, des percussions et deux pianos, la compositrice précise aussi la possibilité de remplacer les deux premiers instruments par le violon et la flûte. Des traits de jazz, ragtime et blues donnent une fraîcheur bienvenue à ces morceaux, tout en explorant des rythmes plus complexes tels la syncope (Funny Rag) et le ternaire (First Blues). Les mélodies, quant à elles, restent simples et ludiques, afin de privilégier le travail d'ensemble. Avant tout. c'est le goût de la musique de chambre qui est transmis à travers cette formidable initiative qui trouvera une place bien méritée dans la bibliothèque des conservatoires et dans celle des professeurs.
Melissa Khong
Pianiste n°129, juil-août 2021
Le recueil comprend cinq morceaux indépendants : Jumpin', Un Dimanche matin, Funny Rag, First Blues, Menuet pour un ensemble avec deux voix de dessus (flûte, violon, saxo alto, clarinette sib...), trois percussions (caisse claire, charleston, wood-blocks) et deux pianos. Les morceaux sont courts (1'30 à 3') et le niveau de facile à... un peu moins facile mais restant dans les limites du Cycle I. Le tout constitue donc un matériel dont des professeurs responsables d'ensembles hétéroclites de jeunes musiciens seront heureux de pouvoir disposer. Et chose pratique, les parties instrumentales sont disponibles à la vente sur le site de l'éditeur.
Jean-Luc Abras
Traversières Magazine n°135
Contenu
1. Jumpin' - 2. Un dimanche matin - 3. Funny Rag - 4. First Blues - 5. Menuet
/ Partitions classique / Ensemble et orchestre / Musique de chambre / LEMOINE

Tarantella is a piece for Piano Duet. Ernest Markham Lee (1874-1956) was a British composer organist and examiner. He was Organ Scholar at Emmanuel College Cambridge where he studied underCharles Wood. His career consisted of many strands - he was a Professor of Organ at the Guildhall School Of Music and also lectured at the universities of Cambridge Oxford and London. At the same time he was a lecturer andexaminer for the ABRSM in which role he travelled all over the world while maintaining a position as a church organist and choir master.