Arrangé pour chorale SSATBB A Cappella par Gene Puerling. / Voix / niveau : Intermédiaire / Partition Séparée

Fix You est le deuxième single de l'album de Coldplay X & Y. Il a reçu des critiques très positives, les candidatures et a été largement échantillonnés. Chris Martin note qu'il est 'probablement la chanson la plus importante que nous ayons jamais écrite.' Ici, il est magnifiquement arrangé par Jonathan Wikeley pour chorale SATB avec accompagnement de piano. Les fonctions spéciales incluent une accumulation émotionnelle à un choeur épique finale! / Mélodie/Vocal/Piano (MVP) / 16 pages / Partition

Sing, Choirs! is a library in miniature. It contains many of the Christian church's popular traditional anthems, including at least one example that will be suitable for each of the major services of the year. A number of Anglican chants (Psalms, Magnificat and Nunc Dimittis) are included, set out in a way that should enable those who are unfamiliar with the style to perform them easily. The selection of movements from the Mass can be used to enrich the music of the liturgy in services. Many of the works in Sing, Choirs! are presented in their original form, such as Bruckner's Locus Iste and Mozart's Laudate Dominum . Others are arrangements, adaptations or longer pieces, abridged to bring them into the scope of a useable anthem, including choral arrangements of Handel's Largo , the Ave Marias by Schubert and by Bach and Gounod, and Franck's Panis Angelicus amongst many others. This collection has practicability as a priority. The Organ parts can be played on either the Piano or the Keyboard. Much of the music in Sing, Choirs! will be suitable for special occasions, making this an indispensable volume for choirs singing at weekly church services, weddings, funerals and in the concert hall. / Choeur Mixte (SATB) Et Orgue

Pavane Fantasia (1974) - On a Pavane by Orlando Gibbons. For Mixed Choir a cappella (SSATBB + soli SSATB). Text: Sonnet VII by William Shakespeare.

Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.

Chorale partita on the Weihnachtsgeschichte Christmas Story-Es ist ein Ros entsprungen Op.10Chorale partita on the Weihnachtsgeschichte (Christmas Story) for Mixed choir (SATB)Hugo Distler born on the 24th June 1908 in Nuremberg and died on the 1st November 1942 in Berlin was a German organist choral conductor teacher and composer. He studied at the Leipzig Conservatory moving to Berlin in 1940 where he became Director of the Berlin National and Cathedral Choir.

Of Noblest Cities is intended for a choir of between 12 and about 40 voices although it may also be given by just six singers one to a part (SSATBB). The piece can be performed unaccompanied if no suitable organ is available simply by leaving approximately two crotchet beats of silence between the end of the last note of one verse and the beginning of the next.Underlying the melody is a simple rhythm which is sometimes expanded or contracted. In the first verse the position of the main beats in this rhythm is made clear by the barlines. In the remaining verses however the barlines are only there to help the singers to keep together and forconvenience in rehearsal: singers should observe their own strong beats which fall in different places for each part and not regard the barlines as indicating downbeats. A few of the strong beats which underlie individual parts and appear to be contradicted by the barlines are marked by the symbol / .The words are a beautiful Victorian translation of a Latin hymn by Prudentius which meditates on the story of the three wise men. Each verse is set to the same melody in an increasingly rich counterpoint inspired by the wonderful sound of Tudor choral polyphony.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

For SSATBB Chorus. This work was included as No.5 of A Garland for the Queen to mark the coronation of HM Queen Elizabeth II.

Judith Weir's Ave Regina Caelorum for unaccompanied choir SSATBB.This piece was commissioned by Merton College Oxford as part of the Merton Choirbook a collection of music being assembled tocelebrate Merton College’s 750th anniversary in 2014.Ave Regina Caelorum was first performed on 8th July 2014 in Gloucester Cathedral as part of the Cheltenham Music Festival by the Choir of MertonCollege conducted by Benjamin Nicholas.