Par JENKINS KARL. La musique d'Adiemus, rendue célèbre par le spot publicitaire de Delta Air Lines et dont l'album s'est vendu par millions. Adiemus conjugue influences classiques et ethniques pour créer une sonorité envoûtante, tribale. Songs of Sanctuary est une oeuvre chorale qui se fonde sur la tradition classique européenne mais qui, dans son traitement de la voix, se rapproche de la 'world music'. La structure des Songs of Sanctuary est dans son ensemble influencée par la forme classique comme celle, par exemple, du rondo, de la ternarité ou de l'air da capo. C'est important à signaler en raison de l'absence de message lyrique d'un texte qui déterminerait la forme. Celui-ci a en effet été écrit phonétiquement, avec des mots visant à produire un effet instrumental, l'idée étant d'atteindre un mélisme maximal en supprimant la diversion, si l'on peut dire, que provoque un texte. Le son est aussi universel que le langage de la musique./ Feuillet / Choeur de femmes (SSAA), flûte à Bec et Piano

Now available in an SSAA voicing, this popular arrangement of Psalm 42 features a strong, forward moving pulse, piano ostinato and a vocal percussive quality in the chorus. / Choeur SSAA, Percussions Et Piano

Let all the world in every corner sing was commissioned by Colston's Girls' School in Bristol for the Chamber Choir and their Director of Music Matthew Redman, and was written in August 2008 for the service to mark the school's acquisition of Academy status. It is a tour-de-force for upper voices - the organ introduction leads to a tapestry of rich variety, climaxing with the choir splitting into four parts for the antiphonal cries against the full organ. The music is highly rhythmic throughout, its time changes dictated by the rhythm and stress of the text. / Choeur SSAA Et Orgue

Viva La Musica! ( Long Live Music!) is a wonderful theme for any concert. And David Brunner has crafted a wonderful concert opening with a strong, bold, unison exclamation to open the piece. Originally a top selling SATB voicing (BHI 48137) this is a welcome addition to the women's repertoire. / Choeur SSAA A Cappella

African Celebration is Stephen Hatfield's wonderful arrangement of tradition African folk songs which is scored for 3 Solo Voices and SSAA Choir a cappella. This edition includes a text translation and pronunciation guide.

Pater Noster was originally part of Fjellheim’s album Aejlies Gaaltije - The Sacred Source released in 2004. This SSAA choral version was created for the choir Cantus for their album Northern Lights (2017). The idea behind Aejlies Gaaltije - The Sacred Source was to combine parts of the traditional Latin Mass with elements of the Sami yoik tradition other Norwegian folk music and the finnish music tradition.

Basé sur une ancienne fable taoïste d'un agriculteur petit village dont la fortune change continuellement à travers une chaîne d'événements interconnectés. Singers sont divisés en deux groupes de caractères - le narrateur et les villageois - et un soliste chante le rôle de l'agriculteur. La morale de cette histoire: Vous ne savez jamais, continuer à avancer. Tout n'est pas tel qu'il apparaît en premier. / Choeur SSAA Et Soliste

La musique de l'album de vendre des millions de dollars, en vedette sur le Delta Air Lines TV commercial. ' Adiemus ' combine classique et des influences ethniques pour créer un tribal sonore haunting. ' Chansons de sanctuaire ' est une oeuvre de choral-type étendue basée sur la cla européenne / Choeur De Femmes (SSAA), Flûte A Bec, Cordes Et Instruments De Percussions (Ou Choeur De Femmes Et Piano)

‘Njoktje’ is the South Sámi word for a swan and this music is based on an old yoik (a traditional Sámi form of song) which creates and ‘audio image’ of this beautiful bird rather than simply describing it. In this piece which was recorded by Cantus on their album Northern Lights elements from the original yoik have been used together with the composer’s own experience of the bird as well as his own musical language.   An independent four-part yoik ostinato in the alto 2 part underpins much of this work and that combined with the flowing melodies and close harmonies creates a unique and very attractivesoundscape.   Fjellheim’s distinctive and approachable musical language which many will recognise from the use of his music at the opening of Disney’s Frozen will appeal to both singers and audience.

Kyrie in the original version was part of Fjellheim?s album called Biejjien vuelie - Solkvad. ?Biejjien vuelie? menas ?Yoik of the sun? in South Sámi language. 'Solkvad' (or 'Sólarjólb' in the original Norse language) is a poem included in the old Norse poem collection Den eldre Edda. The music on the album was inspired by both the Norse poems and the Sámi yoik tradition.The Sámi culture is mentioned on several places in the old Sagas and indicates that the society in the Nordic countries around year 1000 was indeed multi-cultural. The poems selected from the Norse literature had a certain sacred atmosphere; that is why they were combined with elements from theLatin Mass for the album.One fine example for this combination is Kyrie. The words ?Kyrie eleison? are used both in Latin and South Sámi language with the Sámi version having another rhythm and differently stressed syllables.

Aejlies which means ?Holy? was originally composed as part of a commissioned work for the Sámi church festival in Norway in 2013. The theme for the festival was ?Holy Ground! Holy World? referring to the understanding among our Sámi ancestors as well as other indigenous groups that the land we are living on - Mother Earth - is Holy and should be treated with respect and honour. The theme is also inspired by the biblical words ?Take your sandals off your fee for the place where you are standing is holy ground!? (Exodus 3 5) which resonates with how indigenous traditions relate to nature.Only one word is sung in this work which takes inspiration from the Sámiyoik tradition where one often only uses very few words in combination with so called yoik syllables. These syllables have no linguistic meaning but are an important part of this ancient vocal tradition allowing the human voice to describe something without the limitations words and language sometimes have.

This is a piece about discovering the power of our own voices and letting them dance – setting ourselves free exploring and learning to let go of preconceived notions of how we “should” be or “should” think.