O gloriosa virginum est l\'une des oeuvres de Penderecki vaste étude de la musique chorale sacrée. Il avait traité des formes, des styles et des harmonies du passé et son présent travail constitue une synthèse de nouveaux sons et les échos du passé.2009, le compositeur s\'est rendu au Venezuela pour travailler avec l\'Orchestre symphonique de la Juventud Venezolana Simón Bolívar. A l\'occasion de la 70e Anniversaire du fondateur de cet orchestre, José Antonio Abreu, O gloriosa virginum Penderecki compose et dirige la première de la pièce elle-même, il a consacré Abreu avec l\'ajout \'pour mon ami José Antonio Abreu son 70e anniversaire.\'L\'Orchestra Sinfonica de la Juventud Venezolana Simon Bolivar formé à partir du plus grand projet musical dans le Venezuela, la Fundación para el del Estado Sistema Nacional de mineurs e Infantiles de Venezuela Orquestas (El Sistema). Alors Abreu offert depuis 1975 vivent dans la pauvreté, les enfants une éducation musicale et de nouvelles perspectives. Son utilisation persistante de payé, parce que maintenant il ya plusieurs écoles de musique financés par le gouvernement, enfants, jeunes et orchestre symphonique au niveau professionnel, qui a émergé à partir d\'El Sistema. / Choeur Mixte (SSAATTBB) A Cappella / 12 pages / Partition

The Parting Glass. A 4-minute gently flowing arrangement by Joshua Pacey of the traditional Irish/Scottish song. Written for unaccompanied SSAATTBB with soprano and tenor solo. Score includes rehearsal piano reduction. First recorded on VOCES8?s2019 album Enchanted Isle.

Das Gewinnerstück des Int. Kompositionswettbewerbs Musica Sacra Nova 2016. Der junge polnische Komponist komponierte ein Kammerchorwerk für kontrastierende Männer- und Frauenstimmen. Solistisch besetzte Passagen ergänzen die clusterreiche Motette. / Choeur SSAATTBB A Cappella

Ce motet a été commandé par le Yale Glee Club avec un texte de l'Evangile selon Saint Jean, chapitre 8:10-11, où Jésus dit la femme prise en adultère d'aller et de ne plus pécher. Ce 6 minutes a cappella motet se distingue par ses textures full vocales et l'expression profonde rempli d'émotion. / Choeur Mixte (SSAATTBB) A Cappella

This choral fantasy by Roger Pelger is a setting of Thomas Moore's 19th century text focusing on the creation. A great addition to the chamber choir repertoire. / Choeur SSAATTBB A Cappella

'for the National Youth Choirs of Great Britain'for junior-upper voice SSSA Choir and Double SATB Choir a cappella (Score)Commissioned by the National Youth Choirs of Great BritainText is by Arthur W. E. O'Shaughnessy, adapted by Jessica Duchen.Composer's NoteWhen the National Youth Choirs of Great Britain requested a short piece for their gala concert at Birmingham's Symphony Hall, I was particularly excited about the prospect of writing for 300 singers. A recent research trip to Estonia resulted in somewhat of a revelation: having heard and seen their world-renowned choirs in action (literally!) has resulted in We are the Music-Makers having the less mainstream 'surround-sound' of upper voices/junior choir at the back and sides of the audience and a further stereophonic double-choir on stage.This poem was sent to me by Tim Williams (my ex Head of English at school), and immediately seemed to fit this occasion. This text has already been set magnificently by Elgar, so partly to avoid any kind of comparison and also to bring its timeless message up to date, I asked my poet friend Jessica Duchen to give it a sligtly more contemporary feel.A poem about global music-making (which ties in with the NYCGB's recent World-Music CD), it speaks about humankind, nation to nation, and the mention of Babel inspiring a 'speakng of tongues' effect by using as many different international words for 'music' as possible as an accompaniment (not an easy task, as many of them are similar to our own word!). These are: French (Musique), Romanian (Muzica), Swahili (Mahewa), Polish (Muzka), Estonian (Muusika), German (Muzik), Japanese (Ongaku), and Spanish (Música). / Choeur Mixte (SSAATTBB) A Cappella

The musical setting of the poem Though Love be a Day by the English writer E. E. Cummings is both graceful and solemn at the same time. The composer Matthew Brown interpreted it sometimes light, sometimes tonally powerful and archaic for mixed a cappella choir. / Choeur Mixte (SSAATTBB) A Cappella

SSAATTBB a cappella. Text by American poets Sara Teasdale and Paul Dunbar and British writer Siegfried Sassoon. This Choral Cycle includes three pieces: Birds at Dusk (Teasdale) The Caged Bird (Dunbar) and Everyone Sang(Sassoon).