Gustav Mahler's Ich bin der Welt abhanden gekommen expertly arranged for Baritone solo and 8-part Choir (SSAATTBarB) by Bo Holten (2010). Text by Friedrich Rückert. Programme note Gustav Mahler: Ich bin der Welt abhanden gekommen (arr.: Holten 2010) is an arrangement for baritone soloist and 8-part choir of one of Mahler’s Rückert-Lieder. There is already an often performed arrangement for 16-voice choir by Clytus Gottwald which Holten has himself conducted a few times. But Holten does not really think that Gottwald does justice toMahler’s song; among other things it lacks a soloist who can express the “Ich” that is so central to the text. Holten takes his cue from Mahler’s piano setting but with Mahler’s own sublime orchestral setting firmly in mind. The choir thus functions as an (orchestral) accompaniment for the soloist. Holten has taken pains to stay as close to the model as possible within the constraints of what in fact can be sung by a choir. And he has striven to function solely as an arranger and as far as possible to avoid mixing his own personality with Mahler’s.(Klaus Møller-Jørgensen 2012)

A work for mixed chorus and string trio (violin viola and cello) to be performed with restraint and majesty. Ikon Of Light was written for the Tallis Scholars. The first performance took place in July 1984 as part of the 1984 Cheltenham International Festival of Music given by the Tallis Scholars and the Leda Trio conducted by Peter Phillips.Duration c. 41mins.

Sing Pop A Cappella is a collection of a cappella arrangements of fantastic pop songs old and new by renowned teacher singer and director Gitika Partington. Her arrangements are used by choirs across the UK and she emphasises that being able to read music is not necessary. Rewarding and enjoyable Book Three continues her project to bring people together through the power of song. What's great about Gitika Partington's Sing Pop A Cappella series is how she understands that to make great music or to sing a great song it's not necessary to be able to sight-read. It may be useful but shehas learned that there are other ways to communicate music namely through ear training repetition and gesture. Her arrangements five of which appear in this book have enabled youth and community choirs to spring up across the country making singing truly and universally accessible.  Included in this book are wonderfully rich a cappella arrangements of Ain't No Sunshine by Bill Withers Black Is The Colour Of My True Love's Hair Rick Astley's Never Gonna Give You Up Adele's Rolling In The Deep and a huge favourite Sway (Quien Sera). Vocal scores for these innovative and enjoyable arrangements are included in standard notation although Partington recommends learning by ear as something equally beneficial. To aid with this the accompanying download card includes five tracks of audio for each song. One features a full performance demonstration while the other four each focus on either soprano alto tenor or bass. The easy download of these tracks makes learning efficient and fun as you are able to listen wherever you are. The great thing about a cappella singing is that it can be done anywhere with limited resources with members who don't necessarily have any musical training. Partington has created a

(from Season of Wonders)-Uses: Epiphany Christmas Concert Scripture: Matthew 2:1-2 Matthew 2:9 Isaiah 60:1-3 Revelation 22:16 This classic Epiphany poem is dressed in exquisite new music bringing the warmth of the Christmas star and the journey of the seekers to life. A lonely melody in minor tells the story with restraint while touching harmonies bring a mysterious quality to the piece. Ending with a final moment of commitment to bring our gifts to the King this is essential for post-Christmas observances.

Uses: Good Friday Holy Week Scripture: Matthew 12:48 - John 19:26 A very singular perspective is presented in the text of this emotional anthem for Good Friday. The tears of Mary are used to not only express a mother's pain and loss but the deep sorrow of us all as we consider the cost of grace. The main theme in minor moves with the restraint of a heavy burden as the harmonies provide a deep sense of grief and mourning. The cello adds color and motion to the pulsing of the piano delivering an almost dirge-like impact to the spirit of the work. Passionate poetry meets thoughtful music!

With the pleasing lilt of 3/4 this celebrated writing team awakens the Easter event with a jubilant call to life. “Jesus is Risen” is the herald and a spirit of joy permeates every measure. The inclusion of thebeloved “Come Ye Faithful Raise the Strain” is refreshing. A rousing piano part dances through this anthem that is a perfect opening for resurrection morning.

Acallam na Senórach by Tarik O'Regan was co-commissioned by the National Chamber Choir of Ireland The DeBartolo Performing Arts Center at University of Notre Dame Indiana and Peak Performances at Montclair State University Montclair New Jersey.First performed on 25 November 2010 at St Ann’s Church Dublin by the National Chamber Choir of Irelandwith Stewart French (Guitar) directed by Paul Hillier.The Guitar part was edited by Stewart French.Tarik O'Regan on the music:In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patricksimply converting the pagan warriors he is encouraged to listen to Ca lte’s stories and poems of an earlier time in which the saint delights.This secular/sacred osmosis is maintained unwaveringly throughout the entire text. By the end of the narrative one has witnessed not only the arrival of a new religion in Ireland but also a richly-recounted secular narrative map of the entire island: the peaceful and enriching shaking of two great hands.In preparing the libretto (the sung text) I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have however kept the skeleton albeit smaller of the overall frame in place. Finally for the sake of simplicity Ois n is removed from the primary narrative.The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changing combination of voices and guitar. The one exception is Cas Corach the musician of the s d (underworld) who is most closely embodied throughout this setting in the solo interludes for guitar.The music itself is not ethnographically inclined; that is I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally and especially in the guitar writing is imbued with an air

Antonio Vivaldi's Gloria in D RV589 for SATB and Piano.The Gloria in D Major RV 589 is Vivaldi's most famous sacred work and it is among his most important church music compositions. An independent work in one movement it was probably composed between 1713 and 1717 for the Ospedale della Piet one of the orphanages of Venice in which young girls received a thorough musical training. The musically representative work is divided into 12 sections which differ in scoring movement type key and expressed emotions.

How great is this? A new hymn with a dynamic text and lofty strain written in a regal style that salutes the church's incredible legacy of hymnody. Text writer Chris Anderson and composer Richard Nichols have teamed together many times always with excellent results. Written in celebration of a new organ at the Catalina United Methodist Church Tuscon AZ the hymntune is called “Catalina.” With optional brass and percussion and opportunities to include the congregation this anthem is themed for general use. It is a hymn of praise that celebrates God's grace and can include Easter Pentecost Christ the King or any service of praise. Easy.

This emotional poetic setting will create an expressive moment in concert as fluid melodies and beautiful harmonies are further enhanced by the warm piano foundation. When stars pursue their solemn flight oft in the middle of the night a strain ofmusic visits me hushed in a moment silvery.

22 Complete Warm-Up Routines- We can’t do without it: every good rehearsal and successful concert begins with a warm-up. For this you need motivation variety methods and imagination. And that’s where this bookcomes in: Warm Up the Choir offers 22 complete warm-up routines lively and compact in increasing difficulty. Whether it’s a pop choir church choir or professional training – Warm Up the Choir has physical breathing and singing exercises suitable for everyone. And here’s the best part: open it up and off you go!  

The #1 pop hit from 1973 by Gladys Knight and the Pips this is one of the most well-known songs of all time and in 1999 was inducted into the Grammy® Hall of Fame. Feature your best soloist and add some“Pip-style” choreography for a fantastic choral showcase! Available separately: SATB SAB ShowTrax CD. Combo parts available digitally (tpt1 tpt2 tsx syn gtr b dm). Duration: ca. 3:50.

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

Qui peut oublier cette infectieuse Doobie Brothers classique, qui a frappé le Billboard Top Ten en 1973? De la guitare d'ouverture familier lécher à l'accord final, cet arrangement vraiment cuisiniers! / Choeur Mixte (SATB)