Par CASTAGNET YVES. J?ai composé cette messe dans les premières années de ma présence à Notre-Dame, avant la création de l?association Musique sacrée à Notre-Dame de Paris et la restructuration de la maîtrise sous sa forme actuelle. La maîtrise existait déjà, bien sûr ; on enseigne en effet le chant en ce lieu depuis le Moyen-Âge, à l?époque où la cathédrale était encore en construction, il y a plus de 850 ans. À la fin des années 1980, la maîtrise était bien différente de ce qu?elle est devenue maintenant. Elle était alors dirigée par le chanoine Jehan Revert, maître de chapelle, qui fut pour moi un véritable guide, et dont la mémoire restera toujours dans le c?ur des musiciens de Notre-Dame. C?est donc à cette époque que j?ai composé cette messe qui fut à la fois ma première composition et ma première ?uvre liturgique. Elle est volontairement très courte, d?où son titre, pour répondre du mieux possible aux contraintes liturgiques. Elle est aussi le reflet de mon profond attachement à ce lieu unique et tellement inspirant pour le jeune musicien que j?étais alors. Yves Castagnet / Date parution : 2024-01-10/ Répertoire / Ch?ur Mixte SSATB et Orgue

Cöthen Funeral Music BWV 244a-The so-called Köthener Trauermusik (Cöthen Funeral Music) was performed at the memorial service for Prince Leopold of Anhalt Cöthen on 24 March 1729. The history of reconstruction begins in the second half of the nineteenth century. In 1873 Wilhelm Rust co-editor of the first Complete Bach Edition and subsequently Thomaskantor established the fundamental relationship between the Köthener Trauermusik on the one hand and the St. Matthew Passion and Trauerode BWV 198 on the other. In the service of concert practice it is the intention of this attempted reconstruction to enrich the repertoire of church music for Passiontide and the period aroundthe Sunday before Advent on which the dead are commemorated. It is also hoped that it will contribute to the understanding of Bach?s ?Great Passion? whose sister work the Köthener Trauermusik is.

A truly singular perspective is provided in this fascinating anthem. Inspired by the doubting Thomas scripture from John 20:24-29 this text reminds us of Christ's scars of grace and how they mark a path of love grace and service for His followers. Bringing this message of faith into relevance for us the music is simply supportive and allows the text to unfold naturally with elegant clarity. A sermon in song this is as lovely as it is meaningful. Thoughtful!

Vocal Score to Johann Sebastian Bach's St. John Passion BWV 245 for SATTBB Soli SATB and Orchestra.Edition for Voices and Piano reduction.

The Austrian violinist Jacob Dont (1815-1888) was a highly-respected composer and pedagogue whose compositions were primarily written for educational purposes. Of his 50+ works his 24 Studies and Caprices (Op. 35) are probably the best known and are often considered to be some of the most important and most technically advanced pieces available for Violin study. All the exercises focus on different aspects of technique including arpeggios double stops dexterity change of position legato change of string types of bowing trills and appoggiaturas. A truly indispensable work for any Violin student or teacher.

Chorale-motet-Lobe den Herren den mächtigen König der Ehren Op.6/2 IChorale-motet 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.

One of two new additions to the Novello Handel Edition the vocal score of Let God Arise (HWV256b) originally written as one of the so-called Chandos anthems was re-scored for the Chapel Royal in 1724. Edited by Donald Burrows.

Cantiones profanae Instrument : soloists (STBar), mixed choir (SATB), children's choir and orchestra Type : choral score Nombre de Pages : 72 Carl Orff's masterpiece composed in 1936 undoubtedly is one of the best-known musical creations throughout the world. By popular request, we now publish a comprehensive choral score uniting all choral parts in one volume of excellent quality and print. This choral score complements the hitherto available choral parts (ED 4920-01 and -02) presenting female and male voices in separate editions, as well as the piano score ED 2877. The new choral score makes rehearsing and studying this extraordinary work much easier for every singer and music lover. Content : Fortuna Imperatrix Mundi: 1. O Fortuna - 2. Fortune plango vulnera - I Primo vere: 3. Veris leta facies - 4. Omnia sol temperat - 5. Ecce gratum - Uf dem anger: 6. Tanz - 7. Floret silva - 8. Chramer, gip die varwe mir - 9. Reie - Swaz hie gat umbe - Chume, chum, geselle min - Swaz hie gat umbe - 10. Were diu werlt alle min - II In Taberna: 11. Estuans interius - 12. Olim lacus colueram - 13. Ego sum abbas - 14. In taberna quando sumus - III Cour d'amours: 15. Amor volat undique - 16. Dies, nox et omnia - 17. Stetit puella - 18. Circa mea pectora - 19. Si puer cum puellula - 20. Veni, veni, venias - 21. In trutina - 22. Tempus et iocundum - 34. Dulcissime - Blanziflor et Helena: 24. Ave formosissima - Fortuna Imperatrix Mundi: 25. O Fortuna

Music When Soft Voices Die is a major poem by Percy Bysshe Shelley written in 1821 and first published in Posthumous Poems of Percy Bysshe Shelley in 1824 in London. The poem is one of the most anthologised influential and well-known of Shelley's works.Many composers and musicians have set the poem to music with vocal accompaniment.The excellent version for SATB Chorus with Piano accompaniment composed by Geoffrey Bush is now available as part of the Elkin Choral Series.Geoffrey Bush was a British composer organist and scholar of 20th-centuryEnglish music. His compositions include 5 operas 2 symphonies choral pieces such as his Christmas Cantata and many songs generally in the lieder style.

Isaiah 53:3-5 John 5:24-30 I Corinthians 15:51-57 I Thessalonians 4:13-18 Revelation 4-5 - 21:4-This popular contemporary song has a theme of rising to heaven to be with Jesus and offers the assurance that “It is well” and that “Jesus has overcome and the grave is overwhelmed. The victory is won: he isrisen from the dead. And I will rise on eagles’ wings. Worthy is the Lamb!” This powerful arrangement brings solace and hope to the believer for life everlasting. (Isaiah 53:3-5 John 5:24-30 I Corinthians 15:51-57 IThessalonians 4:13-18 Revelation 4-5 Revelation 21:4)

Swedish A Cappella Music Since 1945-This is the first complete survey of Sweden's rich choral music during half a century. Equally suited to music libraries and music institutions and as individual studies for choirs with an interest in Scandinavian music it includes a guide to research a select discography a select bibliography and a list of selected a cappella works relating to the composers interviewed. Dr. Sparks is a Professor of Music at Pacific Lutheran University and is Artistic Director of Choral Arts Northwest a 24-voice chamber choir founded in 1993.

To Nocturner (2001) - for Chamber Choir (12 or 24 Voices). Texts by Ole Sarvig and Ib Michael. English version available: KP01444E Programme note: These two choral pieces for 12 voices consists of radical recompositions on of earlier themes: in Summer's Sleep we hear new combinations of two 'Sarvig melodies' from the 1970s (one of which is now in the Danish Hymnbook under the title 'Året' The Year); Michael's Night is based on an earlier simple choral song (Star Mirror 1987) now for 12 voices and composed such that an original idea of 'simultaneously displaced opposite motions' cf. the poem)comes out as desired. Of the Nocturnes Nørgård writes: 'Summer's Sleep was composed to stanzas of Ole Sarvig's poem The Year (from the collection Forstadsdigte ('Suburban Poems')) and forms the picture of 'the summer of life' which is asleep - while the 'heaven seed' waits for the summer wind ('invisible to every mind'). The many layers of text are expressed musically in a multilayered choral texture with 'looks' up and down through the various tempo and time-worlds: summer sleep summer dream. 'The second nocturne Michael's Night takes its name from the author Ib Michael whose poem Star Mirror (from the collection Himmelbegravelse ('Sky Funeral') (1986) I pushed/coaxed him to expand from one to nine stanzas. The four selected stanzas set in the nocturne focus on the pan-erotic elements of the moonlit starlit night. With the titles I have chosen I have stressed the mythic layer of the text the summer night not as a dream but as sensual reality. 'The two nocturnes are dedicated to Ivan Hansen on the occasion of his fiftieth birthday on 25th February 2003 out of gratitude for over a quarter of a century of inspiring collaboration'.

8 Four-Part Settings for Choir a cappella [mix ch]. Par STOLARZ OHAD. The Sephardic culture originates from the Jewish population of Spain that was banished at the end of the 15th century and afterwards spread to the whole of the Mediterranean area, the Balkan and North Africa. Its unique Spanish dialect Ladino was preserved, finding musical expression in ballads, lyrical and paraliturgical songs for the most part. The choir conductor and composer Ohad Stolarz took eight of these Sephardic Folk Songs and arranged them as a cappella settings for four-part mixed choir. These arrangements may be performed both as a cycle and individually, being also suitable for non-professional choirs due to their lack of difficulty. The musically and harmonically colorful, partly also exotic pieces therefore present an enrichment for the program of every interculturally interested choir. The informative preface and the translations of the lyrics into German and English enable the content-related engagement with Sephardic culture, too. Further choral literature on this topic can be found in the volumes Sepharad and Aschkenaz by Alon Wallach. / Date parution : 2022-02-24/ Recueil / SATB a Cappella