Large Version-Arranged for three soloists; Soprano Tenor and Baritone as well as the chorus SATB. Carl Orff?s dramatic cantata Carmina Burana was originally designed as a theatre piece a 'scenic cantata' to be danced as well as sung and played. Already 38 when he began composing Carmina Burana ? Songs from Benediktbeuern ? Orff was nearly 42 when it finally was produced in 1936. Carmina Burana reflects the period when Orff finally turned his back on chromaticism and complex polyphony for a deliberately simplified style characterised by its rhythmic energy and the repetition of short melodic phrases supported by elemental block harmonies. In Latinand High German.

Par SCHALLEHN HILGER. Durée: 3', Langue: French, German, Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur de Femmes (SMezA)

Par SCHECK HELMUT. Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur Mixte (SATB)

Lieder und Chansons In Bearbeitungen Für Männerchor und Klavier. Par KREISLER GEORG. Georg Kreisler equals scathing, dark black humour on the piano! The Singphoniker have arranged Georg Kreisler's best known songs for all-male ensemble and recorded them on CD. Schott now publishes the corresponding music edition for men's choir TTBB with piano accompaniment. The topics range from the poisoning of pigeons to the love of a wonderful woman to her long awaited moving out. These pleasant arrangements for men's choir TTBB and piano with Kreisler's humorous texts most certainly create an exuberant atmosphere in the concert. All pieces contained in this volume are also available in separate editions. / Niveau : Intermédiaire / Répertoire / Ch?ur d'Hommes [TTBB] et Piano

Par POOS HEINRICH. Durée: 3', Langue: German, Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur d'Hommes (TTBB)

Hermann Schroeder (1904-1984) enseigne la théorie de la musique et de la direction chorale à la Musikhochschule de Cologne et est considéré comme un des compositeurs plus importants de l'Eglise catholique du XXe siècle. Pendant de nombreuses décennies, il a effectué le Bach-Verein de Cologne et il a écrit de nombreux motets et masses, y compris ' dorica Missa ' (Schott, C 33719). Ses oeuvres chorales liturgiques sont délibérément faciles à chanter et sont adaptées aux besoins et aux exigences de la pratique musique d'église. Il a suivi de l'art de la polyphonie vocale classique et a donné les parties individuelles de linéaires une vie propre dans la modernité modérée. Dans le présent motet petit (d'une durée d'environ 2 minutes), le cantus firmus est dans la basse. / Choeur Mixte (SATB)

Par POOS HEINRICH. Langue: German, Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur Mixte (SSATBB)

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

Par ZIPP FRIEDRICH. Durée: 5', Langue: German, Format: Schott Choral Publishing (C-Order Numbers)/ Répertoire / Choeur d'Hommes (TTBB), 2 Trompettes, 2 Trombones,

La référence SF_8683 de l'éditeur Schott Music dont l'auteur célèbre est Concone Giuseppe, qui a pour titre 50 Leçons op. 9, a été écrite et composée pour Chant/Vocal/Choeur et plus particulièrement pour Voix. Cette partition musicale appartient à la catégorie Classique. / Voix / Partition

Par POOS HEINRICH. Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur Mixte (SATB)

Par POOS HEINRICH. Durée: 3', Langue: German, Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur Mixte (SSAATTBB)

Par POOS HEINRICH. Durée: 10', Langue: German, Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur d'Hommes (TTBB)

Par ZIPP FRIEDRICH. Durée: 5', Langue: German, Format: Schott Choral Publishing (C-Order Numbers)/ Feuillet / Choeur d'Hommes (TTBB), 2 Trompettes, 2 Trombones,

Love Is All Around! Dans le nouveau volume de la série à succès 'Schott Vocal Lounge ', Carsten Gerlitz vous emmène dans un monde de grandes émotions. L'amour, la plus belle sensation dans le monde, a été l'inspiration pour les plus belles chansons qui sont maintenant disponibles dans des arrangements pour des chanteurs à voix gamme moyenne et un pianiste accompagnateur accompli.Tous les morceaux sur le CD d'accompagnement ont été réalisées par l'auteur et chanteurs professionnels. Chaque titre est livré avec une version sing-along. / Voix Et Piano