The World - SATB edition

Chorus (SATB) . Par JACKSON / RICHIE. / Niveau : Intermédiaire / Répertoire / Choeur (SATB) et Orchestre à vent

Par TAILOR NORMAN. / Niveau : Elémentaire / Répertoire / Choeur (SATB) et Orchestre à vent

cis-Moll-Louis Vierne's Messe solennelle en ut dièse mineur (Op.16; cis-Moll) for SATB and Organ.The Messe solennelle op. 16 for mixed choir and two organs by Louis Vierne was composed in 1899. At its world premiere in St. Sulpice in December 1901 Charles-Marie Widor played the main organ and Vierne the choir organ. The work belongs to the highlights of the late Romantic organ masses and more-over is comfortable for the choir to sing.The present edition is based upon the first edition that was published in 1900 by Pérégally & Fils in Paris. Due to practical reasons a performance with two organs is often not possible therefore parallel to the original edition the publishers have also published an arrangement for choir and one organ by Zsigmond Szathmáry.

Five dance-inspired movements for SATB and Piano-Written for SATB choir and piano with optional audience participation Pas de deux is a work consisting of five movements by Paul Smith the co-founder of VOCES8 and author of The VOCES8 Method. The movements can be performed individually or as one complete work. Pas de deux is inspired by the dance duet found in ballet and the music takes the duet element of the dance to create a relationship between the performers and audience enabling interaction between them and giving the option for performers and audience to make music together. Suitable for all ages this piece offers opportunities both to create and to perform informed by Paul Smithâ??s expertise in leadingparticipatory music events with hundreds of thousands of people around the world. A five-movement work inspired by the dance pas de deux Incorporates a wide range of musical styles from contemporary classical to traditional Zulu Encourages a musical interaction between performer and audience Suitable for singers (and audiences) of all ages Incorporates well-known themes from the ballets of Tchaikovsky Paul Smithâ??s Pas de deux is part of the Edition Peters Choral Workshop Series.

Complete-The complete set of Copland's Old American Songs arranged here for mixed choir and piano by David Brunner Irving Fine Glenn Koponen Gregory Rose and R. Wilding-White collected for the first time in a complete edition. Includes the original notes on the songs.The first set of Old American songs was completed in 1950 the same year that Copland finished his other major song set Twelve Poems of Emily Dickinson. On October 17 1950 the first set was given its world premiere by Pears with Britten at the piano at the Aldeburgh festival. The success of the first set prompted Copland to set five more songs. Copland later orchestrated both sets for medium voice andsmall orchestra.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

'From the Beginning of the World was commissioned by the Cardinall’s Musick and premiered at Cadogan Hall on the 20th July 2015 in the first of the 2015 BBC Proms Chamber Music Concerts. The concert launched The Tallis Edition a new project by the ensemble with an aim to throw new light on Tallis’s work and part of the commission brief was that my new piece should be a homage to this great English polyphonist. I spent several weeks in libraries attempting to find a suitable text eventually settling on excerpts from Tycho Brahe’s German Treatise on the Great Comet of 1577. Whether Tallis knew about the comet is unknown of course but this seismic event to me seemed emblematic of all the great changes that occurred during his lifetime in areas such as religion the calendar and time-keeping (finding out that Tallis lived out his last days in Greenwich was an extra bonus). The text also seems to speak to contemporary times: whilst Brahe may have thought the comet’s birth would cause the sun to ‘bring unnatural heat’ nowadays we know that its ‘venom [will be] spewed over the lands’ due to mankind’s continued pillaging of the earth’s natural resources. Yet our political ‘pseudo prophets’ prefer to distract us with an austerity delusion rather than confront a reality perpetuated by certain corporations for whom ‘seek[ing] their own honour’ is of primary value. The music itself is very influenced by Tallis and canons and imitation abound. During my time as a ‘cellist at the Yehudi Menuhin School I performed Ralph Vaughan Williams’s Fantasia on a Theme of Thomas Tallis many times and so From the Beginning of the World which also uses Tallis’s Third Mode Melody from the English Hymnal is really a homage to both composers.' - Cheryl Frances-Hoad.

A Cantata for Christmas Preview Pack ( Book/Listening CD)-The Song Heard 'Round the World is a journey of international carols and folk songs that incorporate narration and scripture to share Christmas story. With sections for Advent Christmas and Epiphany the anticipation incarnation and proclamation of Christ's birth is presented. Each movement is from a different nation filling the work with a tapestry of musical diversity. The overall theme of unity and peace on earth is timely giving many options for creative presentations. Colorful orchestrations by Brant Adams capture the diversity that is so much a part of this meaningful work. A smaller chamber orchestration is also available as well as a full line of support products.Songs include: A Joyful Journey of Carols - Hear the Song Heard 'Round the World - An Advent Prayer - Prepare the Way of the King - Ges¨ Bambino - Rejoice! Christ Is Born! - A Unity Carol - Music of the Morning Star - Prayer for Peace. Score and Parts for Full Orchestra (fl 1-2/pic ob cl 1-2 bn hn 1-2 tpt 1-3 tbn 1-2 tba timp perc 1-4 hp kybd vn 1-2 va vc db) and Consort (fl cl tpt 1-2 tbn bls perc kybd) available as a Printed Edition and as a digital download.

Revised Edition - Vocal Score-This musical with a book by John Weidman explores the history of presidential assassination in America from John Wilkes Booth to John Hinckley Jr. Assassins climaxes in a surreal sequence where the assassins convince Lee Harvey Oswald that his act is the only way he will connect with them with history and with the world.Newly edited with new music engravings. Based on the 2004 Broadway production.

There is a wealth of Christmas repertoire for choirs to choose from and sometimes it is difficult to select which arrangement you want of your traditional carols. It is refreshing when you get a selection which has a new version of a familiar carol plus two carols which you think you should know but donâ??t. This is the case with Joanna Gillâ??s three new carols. â??Sir Christèmasâ? a traditional British carol in the setting by William Mathias has been a popular choice for many years. Yet here is a refreshing new arrangement with the hint of sleigh bells and a choral texture where the melody is passed from voice to voice. The carol builds to a triumphant ending to highlight the fun and merry making to be had at Christmas. Then we have two new original carol settings: â??I heard the bells on Christmas dayâ? with words by the American poet Henry Wadsworth Longfellow. It is presented with a swinging bell like texture and a catchy tune builds to a dramatic ending wishing peace on earth goodwill to men. â??Look to the Stableâ? is a new carol with words by Becca Beschizza a gentle lullaby to the new born baby Jesus praising this event and the Glory of God. This gentle melody is bound to become a favourite with both choirs and audiences.The three carols in this album are going to appeal to the singer with their simple but effective word setting along with the beautiful and well-crafted accompaniments. Furthermore they are going to appeal to the audience and will become a popular feature in many Christmas carol services around the world.

This accessible cantata has an ecological focus based on the thoughts of a group of children about their hopes and dreams for the future. In six movements together with a short prelude and postlude it contains subject matter such as 'Running a race for the future' 'My idea of heaven' and 'Living with animals'. This popular work for SATB youth choir and piano has received many performances. (An alternative piano duet accompaniment or alternatively a score and set of parts for small orchestra (2120/0200/Strs) and a separate youth choir part are available on hire from www.ColneEdition.co.uk)

Arrangement: Richards Scott. Par RICHARDS SCOTT. / Niveau : Assez Facile / Répertoire / Choeur (SATB) et Orgue ou Piano

This dazzling choral medley is a nostalgic tip-of-the-hat to the great songwriters and artists that brought America's music to the world! With choreography and performance suggestions by John Jacobson this is entertainment at itsbest! The medley consists of seven sections: I. Encore! (Opening) II. Try to Remember III. I Believe in Love IV. Dancin' in the Street V. Stand By Me VI. One More Time (A Megamix for the Millenium) VII. Encore! (Reprise).Available: SATB Director's Score SAB Director's Score 2-Part Director's Score SATB Singer's Edition SAB Singer's Edition 2-Part Singer's Edition Director's Kit Preview CD ShowTrax CD. Performance Time: Approx. 35:00.

SATB-One of Berlioz's greatest works the Grand Messe des Morts is written for Tenor Solo SSTTBB Chorus and Orchestra. The scale of this work should not be underestimated: it runs at an hour and a quarter and the orginal scoring included no fewer than 16 timpani and four extra brass choirs! However not all of its music is massive (the extra forces explode onto the scene in the Tuba mirum portion of the Dies irae sequence in No. 2 and then disappear). Indeed much of it is quite intimate -- for example the slender No. 3 Quid sum miser which immediately follows the outburst in No. 2 or the opening of No. 9 Sanctus which features the solo tenor. Andthe Requiem ends in absolute tenderness the Lamb of God (No. 10 Agnus Dei) having taken away the sins of the world and accepted the dead into a new world of which we mortals can hear only vague echoes -- timpani strokes left over from the explosive Last Judgment held earlier in the mass now distant and gentle. This the Schirmer Edition of the vocal score contains a piano accompaniment arranged by Leopold Damrosch.