Björk Guðmundsdóttir is one of the key recording artists of the 21st century. Moving effortlessly between disciplines and genres so fluidly it would shame David Bowie, Björk has tackled neo-classical, showtunes, house, pop, indie as well as acting (winning best actress at the Cannes Film Festival for her turn in Dancer In The Dark) and creating a visual template for her work that is staggeringly rich. Björk has used collaboration as a key part of her work and her work available in sheet music is perhaps her most radical example of this. In her own words ?I wanted to question how I felt about musical documentation, when CDs were slowly becoming obsolete, I was curious about the difference of midi (digital notation) and classical notation and enthusiastic in blurring the lines and at which occasions and how one would share music in these new times. What is the difference of karaoke and the lyrical recitals of the 19th century? Can one meet at bonfires and sing techno songs? (well icelanders do obvs) Maybe I should share digital notation that people could connect to their synths or do harpsichord versions of electronic beats to enjoy in the living rooms and hopefully families singalong to?.
All Is Full Of Love
The Anchor Song
Atom Dance
Aurora
Bachelorette
Black Lake
Cover Me
Declare Independence
Desired Constellation
The Dull Flame Of Desire
Gratitude
I've Seen It All
Immature
Isobel
Joga
Mother Heroic
My Juvenile
New World
Notget
Oceania
Pagan Poetry
Pleasure Is All Mine
Pneumonia
Stonemilker
Sun In My Mouth
Unravel
Venus As A Boy
Vertebrae by Vertebrae
Where Is The Line?
/ Partitions variété - pop - rock / Variété internationale / Piano voix guitare / HAL LEONARD

(Dance! Lisella!)-?Hopsa! Lisella! ? an 18th century Alsatian folk song quite literally sways back and forth as it is sung. The feeling of acceleration typical of 18th century song is captured through ritards accelerandos and tempo changes at the beginning of each verse. Add tambourine and triangle to enhance the French character of the song. In two parts this accessible setting will work nicely with any treble group. Duration: ca. 3:05

Compiled by June Boyce-Tillman 32 Galliard Spirituals has been compiled by June Boyce-Tillman after working for many years with children and adults of all races and creeds. In the collection she traces through the songs the authentic record of how the Negro community thought felt and managed to survive in 18th century Maryland and 19th century Louisiana on the hope of freedom still echoed in Dr Martin Luther King's famous I have a dream speech. The songs are not only history but they are amongst the most moving and beautiful of all Western songs both in their poetry and in their simple direct melody . . . and above all in their freedom to sing rhythmagainst a steady beat.ISBN 0 85249 587 0

This title is taken from the compilation French Songs And Choruses For Mixed-Voice Choir (NOV165198)Hector Berlioz' Le Ballet Des Ombres written for SATB. Withdrawn by the composer within six months of publication in 1829. Berlioz in fact went to some trouble to suppress the work rounding up and destroying all copies he could find. So successful was he that only one copy of the Ballet des ombres in a private collection was known to have survived at the beginning of the twentieth century and that is now lost. Our sole source for the work is its inclusion in Malherbe and Weingartner's badly flawed edition of Berlioz's works publishedby Breitkopf and Härtel in the opening years of the twentieth century.

These words of this carol, full of colours and rich in symbolism, are from the Cherry Tree Carol , a popular folk carol telling a legend which goes back at least as far as the Coventry Mystery Plays. The piece received its first two performances on the same day, by Robinson College Choir and Clare College Choir, in Cambridge, and was later recorded by Robinson College Choir, conducted by Timothy Brown. The main tune should have an easy-going lilt, which turns into light, sprightly dancing for the refrain. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Jeremy Thurlow is a composer, writer and pianist. His music has been described as 'seductive, innovative, full of freshness' by Henri Dutilleux. It has been performed by the BBC Philharmonic, the Fitzwilliam String Quartet, Rolf Hind, the BBC Singers, Endymion, Carmen Elektra, Peter Sheppard Skaerved, Matthew Schellhorn and Sequitur (New York), among others. In 2007 he won the George Butterworth Award for new composition. As a musicologist he writes on French music in the twentieth century. His book on composer Henri Dutilleux is published in French by Millénaire III, and he has written and broadcast on the music of Messiaen and many other 20th-century composers, frequently appearing on Radio 3's CD Review. / Choeur SATB

Antologia Critico-Tecnica per gli studenti di canto-The Art of the Vocalise Part II (Mezzo-Soprano - Baritone) is a major teaching work edited by Elio Battaglia and written for those young singers who have assimilated the basic concepts of vocal technique and feel that they are ready toundertake a conscientious study of the vocalise.This method provides a rich anthology of pieces of increasing diffi culty written by composers singers and teachers from the 17th Century to the modern day.The last section of the anthology contains a selection of classic pieces from twentieth-century by G. F. Malipiero H. Defosse A. Honegger H. Opienski.

This collection presented in a performance ready spiral bound book features ten songs from the vast repertory of the Victorian and Edwardian Music Hall from the rich legacy left by the artistes lyricists and composers who flourished primarily in London in the second half of the 19th century and the first quarter of the 20th century. Arranged for solo or unison singing with choruses arranged for SATB by Geoffrey Brawn. Notes on the songs by Robert Meadwell.

First Prize Winner of the 2015 California Voices II choral competition this is an artistic rendering worth consideration. Using a German text by Hermann von Gilm zu Rosenegg composer Matthew Swartz gives us an expression that is both 19th century romantic and undeniably 21st century as well. The art song from the age of Schubert is transformed into a choral statement that does not deny its roots. A beautiful and expressive piece.

Thomas Cousins is best known for festival anthem GLORIOUS EVERLASTING which was performed by churches and schools constantly in the 2nd half of the 20th century. This setting of Psalm 47 is from the same parent and is similar in energy drive andvitality. The parallel chords in rapid succession and the rhythmic determination are infectious. Cousins typified a compositional style that celebrated the wonderful choral traditions that powered through our country in the late 20th century. Highschool choirs colleges and community choirs will enjoy this piece as will larger church choirs. Medium difficulty.

For Contralto solo Chorus and Orchestra. Looking outside the purely Western Europe tradition for inspiration and freshness Karl Jenkins sets the 13th-century Stabat Mater text in Latin and English and has extended it to a universal depiction of grief with six other texts some of them from ancient sources in a variety of languages. The scoring is for voices and modern symphony orchestra augmented by indigenous instruments such as the Darabuca (Hand Drum) and Riq (Small Tambourine) and the Mey (Woodwind). The work has been recorded by EMI Classics performed by the Royal Liverpool Philharmonic Orchestra andChoir the EMO Choir of Helsinki with soloists Jurgita Adamonyte and Belinda Sykes conducted by the composer. By turns dramatic and reflective the twelve-movement work incorporates the original 13th-century Latin sequence alongside additional texts such as Ave verum corpus (originally composed for Bryn Terfel) Lament by Carol Barratt and English texts derived from ancient Babylonian and medieval Persian sources.

Christmas Carol-Lullay my liking was commissioned by BBC Music Magazine for the publication’s December 2014 issue. The brief was to compose a carol with simplicity of form and this Middle English 15th century carol text lent itself to an expressive yet succinct setting.  The score is influenced by the revival in Christmas carols at the beginning of the 20th century that led many writers to compose in a quasi-medieval style exemplified by G R Woodward’s Ding Dong Merrily on High.

17th century English lullaby. Par STROMMEN CARL. 17Th Century English Lullaby/ Feuillet / Choeur de Femmes (SSA) et Piano

Arranged for SSSAAATTTBBB the lyrics are from an anonymous writer of the fourteenth century and have been adapted by the composer.The composer says: 'Woefully arrayed is a supreme choral setting by William Cornysh Junior who died in 1523 of a text usually regarded as of anonymous composition though there have been some attributions to John Skelton. It is a thoughtful powerful meditation on Christ on the Cross and though Cornysh’s setting has remarkable intensity and contrapuntal artistry I felt a strong wish to add my own response to this fine text. The different versions of it have different verses that used by Cornysh has three verses (plus therefrain) while there are others with four or even five (one attributed to Skelton has five). I have chosen to restrict myself to the three used by Cornysh using my own adaptation of the modernised words which yet incorporates some archaisms a deliberate choice for reasons of rhythm and verbal sound. This setting was commissioned by the Three Choirs Festival 2009 for Stile Antico to whom it is dedicated.''Difficult to perform but not difficult to listen to this 2009 Three Choirs Festival commission was first performed by Stile Antico who have since toured it. It is a heartfelt response to the fourteenth-century text passionate and anguished Christ is on the cross ‘woefully arrayed’. Although written for a secular choir it is a piece that could be sung by many cathedral and collegiate choirs: there is considerable doubling between the sixteen lines and a keyboard reduction to help the initial sorting out. Above all it is dramatic and would communicate directly to audiences if given a chance to hear it.'       - James L Montgomer RSCM review

1 Great Songs of the Century-A collection of a hundred of the best songs from Broadway musicals over the 20th century including photo stills from many musicals. Those selected from include Sweeny Todd Evita and Showboat.

SSAA Version - Score-The work is based on the Latin Christmas hymn Puer natus in Bethlehem from the 13th century and along the way the German fishing melody Ein Kind geborn zu Bethlehem from the 16th century onwards. The latter can be sung in English German or Danish at will. The work can be sung a cappella or with piano accompaniment (WH33171A). Version for mixed voices also available.