We Will Remember Them: Music For Remembrance is a collection of some of the finest pieces of choral music on the theme of remembrance. We Will Remember Them: Music For Remembrance is suitable for church, cathedral, school, youth and community choirs. It contains music appropriate for Remembrance Sunday services, and beautiful pieces suitable for concerts, memorial and funeral services and other acts of remembrance and reflection. We Will Remember Them: Music For Remembrance includes classic choral works such as Samuel Barber's Agnus Dei , Edgar Bainton's And I saw a new heaven and William Harris's Bring us, O Lord God alongside other works by well-loved composers, including John Tavener, Richard Rodney, Paul Mealor and Eric Whitacre. New arrangements, such as David Hill's choral reworking of Edward Elgar's Nimrod , are included with other new works by some of the best contemporary composers. / Choeur Mixte (SATB)

Par VERDI GIUSEPPE. The first critical edition of Verdi's Requiem with complete performance material for sale. The edition is based on the autograph as the primary source and makes accessible one of the most important requiem settings of the 19th century in a modern scholarly edition. In particular, articulation, phrasing and dynamics are often indicated more precisely than in previous, well-known editions. By means of parallel passages, editorial additions attempt to make Verdi's intentions clearer through the judicious use of diacritical markings. A clearly organized disposition of the engraved music makes the full score and vocal score easy to read. Outstanding legibility of the parts. With an excellently playable vocal score by Paul Horn in tried and true quality. As a reasonably-priced alternative, a choral score is also available. With a foreword in three languages and a critical report. Among Verdi's many compositions, as a work of sacred music, the Requiem remains unique. It was composed as a musical memorial for the Italian national poet Alessandro Manzoni, deeply admired by Verdi, and was first performed on the first anniversary of his death on 22 May 1874 in Milan Cathedral. The exploration of many extremes places Verdi's tonal language wholly in the service of a dramatized liturgy./ Répertoire / Choeur Mixte (SATB) et Orchestre

Par BEATLES THE. Strawberry Fields Forever was John Lennon's homage to the garden of a Salvation Army children's home in Liverpool. It gave The Beatles a psychedelic hit in 1967. The name was eventually adopted for a small memorial garden on the West Side of New York's Central Park opposite Lennon's final address, The Dakota apartment building. Here this evocative song is arranged for SATB with piano accompaniment by Jeremy Birchall. / Niveau : Intermédiaire / Recueil / Choeur Mixte (SATB) et Piano

An arrangement of Edward Elgar 's simple and poignant setting of Laurence Binyon's poem 'For The Fallen', taken from his cantata 'With Proud Thanksgiving'. This piece for SATB is suitable for Remembrance Sunday and concerts and memorial services. / Choeur Mixte (SATB)

The first of a set of four madrigals on rose texts, also entitled 'Now Sleeps the Crimson Petal', for SATB (with divisi). Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir, University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir, conducted by Michael Bawtree on October 28th, 29th and 31st 2010. / SATB

Cantata for string orchestra and chorus. Triptych represents the concatenation and re-orchestration of two extant works. Movement I was commissioned with funds from The RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on 18th December, 2004 - the work, premièred as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from 19th-26th December, 2004. Movements II and III, commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premièred as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on 13th November, 2005 conducted by Nicolae Moldoveanu. The title of this latter section is taken from Thomas Hardy's poem of the same name, written at the signing of the Armistice on 11th November, 1918 - a couplet from which is set, in a moment of tranquillity, in the final movement. Relatively new to living in New York, I am much more aware of the independent, vibrant cultural plurality that exists today - it's probably the single most dazzling facet of the City and is largely responsible for the infamous 'edginess' that pervades daily life there. With this in mind, I set to work on Threnody (movement I here) in 2004 - I wanted to write something that was relevant to the Israeli/Palestinian issue without losing that City 'edge'. The texts, in English, are excerpted from a variety of sources: William Penn, William Blake, the Psalms of David and Muhammad Rajab Al-Bayoumi, an Egyptian poet of the early twentieth-century. Fast and rhythmically influenced by the music of North Africa in its syncopations, this movement was the first composition that evolved entirely from my New York perspective. From the moment that the commission for And There Was a Great Calm (movements II and amp - III here) was offered, I knew the piece I was about to embark upon would end up being linked with Threnody in some way. I realized that what I had been aiming for in Threnody served as a template for this new piece, originally composed for a Remembrance Sunday concert. Musical works connected with commemoration or memorials are often suitably pensive and slow - I wanted to start with that concept, but to bring in some of the relentless urban rhythms that had been such a large influence on my life in the preceding two years. The result is that that the second movement is quiet and gentle (a moment of recollection), while the final movement is much faster and vibrant, returning to a more openly elated rendering of the start of Triptych (the texts here dealing with transmigration and the future). and nbsp - I gratefully acknowledge the assistance of Bruce Ruben and Judith Clurman, as well as that of my parents, with the collation of the texts. Tarik O'Regan New York, February 2006 / Soprano, SATB Et Orchestre De Cordes

Four madrigals on rose texts for SATB (with divisi).Commissioned by John Armitage Memorial and first performed by the joint choirs of the University of St Andrews Chapel Choir, University of Aberdeen Chamber Choir and the Edinburgh University Chamber Choir, conducted by Michael Bawtree onOctober 28th, 29th and 31st 2010. / SATB

A captivating new arrangement of a classic 19th century American hymn! Three beautifully contrasted verses flow above a wonderfully triumphant accompaniment. For All Saints' Day, funeral or memorial services, and general occasions. / Choeur Mixte (SATB)

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 around the 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. / Chant and Piano

Cette masse a été commandé pour la gloire de Dieu dans l'année du millénaire du Jubilé, et a d'abord été effectuée sur la fête du Corpus Domini par la chorale de la cathédrale de Westminster, à Londres, avec Andrew Reid (orgue), réalisé par Martin Baker.Le réglage a été adapté à la nouvelle traduction anglaise en 2012. La première représentation de cette version a été donnée lors de la fête de Corpus Christi 2013 par le Choeur de la cathédrale de Westminster, avec Peter Stevens (orgue), réalisé par Martin Baker. / Choeur Mixte (SATB) Et Orgue