Job (Vocal Score)-A substantial work for four soli SATB chorus and orchestra using text from the translation of Stephen Mitchell's The Book Of Job. Like Vaughan Williams in his Job: A Masque for Dancing Davies was inspired inpart by William Blake's 21 engravings for the Book of Job. His oratorio however is less dependent on find parallels for Blake's visual details given the direct poetry in David Lemon's adaptation of the Stephen Mitchelltranslation from the biblical original it is hardly surprising that the spotlight should be so much on Job's suffering litany. The baritone has the lion's share of the setting though the other soloists occasionally reinforce hisplea and chorale-like episodes universalize his predicament. Davies frames with work with two seminal plainsong-like passages; there is also plenty of dramatic contrast both within Job's monologues and in the vivid orchestralwriting for the smarmy Comforters the initially shrill God who finally appears out of a dazzling orchestral whirlwind and the animal life he uses to illustrate the wonders of creation to a humbled Job.Commissioned by theUniversity of British Colombia it was first performed in May 1997 by Valdine Anderson (soprano) Linda Maguire (mezzo soprano) Paul Moore (tenor) and Kevin McMillan (baritone) with the Vancouver Bach Choir and the CBC VancouverOrchestra conducted by the composer.Vocal score with piano reduction of the orchestral score. Duration c. 70mins.

Morley's early-Renaissance setting of the Magnificat And Nunc Dimittis alternates between the unison lines based upon Gregorian tones and an SATB chorale-style texture. Edited by Francis Burgess and Royle Shore.

La ballade magique de Walt Disney Pocahontas dans un arrangement mémorable chorale, calqué sur l'enregistrement de Vanessa Williams a frappé pop! Disponible: SATB, SAB, 2-Partie et CD ShowTrax. Temps de Performance: Env. 04:00. / Rép International / Feuillet / Chant et Piano

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

Song For Athene, pour chorale SATB non accompagnés, a été commandé par la BBC et écrit dans la mémoire d'Athéna Hariades, décédé en Mars 1993. Le texte est tiré du Hamlet de Shakespeare et le service funèbre orthodoxe. Le travail a d'abord été réalisée à l'enterrement de Diana, princesse de Galles en Septembre 1997 sous le titre Alleluia. Vols de mai des Anges Toi Chantez à ton repos. Martin Neary a mené l'abbaye de Westminster Choir. / Voix

Morten Lauridsen's setting of Chanson Eloignee arranged for unaccompanied SATB choir.Lauridsen was commissioned by the Pacific Chorale (Directed by John Alexander) to write an a capella work for their inaugural concert at the Renee and Henry Segerstrom Concert Hall in Costa Mesa California which took place on the 22nd October 2006. Lauridsen chose to set a poem by Rainer Maria Rilke (having used works by the same author in his Les Chansons des Roses and Nocturnes) and chose the text Chanson Eloignee (Distant Song).Faber New Choral Works introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series draws in a richdiversity of living composers and includes both lighter and more challenging contemporary works offering a thrilling array of varied styles.

Par LAURIDSEN MORTEN. Morten Lauridsen's setting of Lux Aeterna , a five movement, non-liturgical requiem for choir and chamber orchestra/organ is a rich and intensely moving work. Choral textures are fully explored, from the sonorous, slow unfolding of the Introitus and the intricate counterpoint and paired voices of In Te, Domine, Speravi , to the cappella motet O Nata Lux and spirited canticle Veni, Sancte Spiritus . The last movement, a sublime Agnus Dei preceding the final Lux Aeterna , closes with a joyous Alleluia to provide an uplifting conclusion to this most powerful work. Available here is the vocal score for SATB divisi chorus, with Organ Accompaniment. / Niveau : Assez Facile / Répertoire / Chorale

Following an initial quite straightforward first verse the melody moves to the Tenor Voice with the Soprano and Alto harmony sometimes crossing over. In the third Voice unaccompanied Chorale is used. In the fourth and final Voice a few Soprano Voices provide a descant. This moving arrangement of Lord of All Hopefulness by Dr Barry Rose was written in the fullness of a long distinguished career that included thirty years as Organist at Guildford Cathedral. His last post was Organist and Master of the Choristers for St Albans Cathedral

O Teach Us So To Count Our Days a figured Chorale from Cantata 186 by J.S. Bach. Words by J. Montgomery and B. Hall Kennedy. Organ arrangement by Walter Emery.

from Songs of Love-“I sing because...“ is the third and final movement of the choral suite Todd’s ‘Songs of Love’ which was commissioned by Elena Sharkova for the Symphony Silicon Valley Chorale in 2012. The haunting and yearning text about love and loss is written by the American poet Nils Peterson after a Greek poem by Maria Polydouri. With an aching melody which starts on upper voices and gradually builds to the whole choir this work features the composer’s characteristic lush vocal harmonies and improvisatory accompaniment. The result is a very emotionally charged piece in which the words and musiccomplement each other greatly. “I sing because...” is featured on Tenebrae’s album ‘Call of Wisdom’.

The text of Susanni is a translation of Martin Luther’s hymn of 1535 Vom Himmel hoch. The music is based loosely upon the well-known chorale melody which at times is quoted in full in both voices and organ. Except where indicated singers should adopt a legato style especially in the repeated quaver patterns. In the bars which appear to be in compound time conductors should beat in crotchets.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 yetaccessible repertoire in an exciting variety of styles. Bill Ives has spent his life in choral music as a singer conductor teacher and composer (writing as Grayston Ives). He was a chorister at Ely Cathedral and later studied music at Cambridge taking composition lessons with Richard Rodney Bennett. After Cambridge he sang in Guildford Cathedral Choir before joining the King’s Singers with whom he recorded and performed worldwide.For eighteen years he directed the Choir of Magdalen College Oxford. During his tenure the choir earned a Grammy nomination for a disc of music by Orlando Gibbons and gave the première of Paul McCartney’s Ecce Cor Meum written especially for them. In 2008 his work as a composer and conductor of church music was recognised with the award of a Lambeth DMus and a Fellowship of the Royal School of Church Music.

Danish and English title included.Anthem for S-solo SSATB and organ.Danish title: Hør min bøn O Herre.