Par CHARPENTIER MARC-ANTOINE. / Répertoire / Choeur Mixte (SATB) et Basse Continue

Goldfinger will always call to mind Shirley Bassey 's assertive vocal on the soundtrack of the James Bond film of the same name. Written by John Barry, Lesley Bricusse and Anthony Newley, it became the definitive in-your-face Bond song before the series' theme tunes became quieter and more pop-oriented. This version has been arranged for SATB choir with piano accompaniment by Thomas Lydon. / Choeur Mixte (SATB) Et Piano

Un classique American Folk Hymn prend un nouveau sens dans ce contexte Claude Bass. Ajouter l'option obligé C-instrument pour un moment poignant de la dévotion. / Choeur Mixte (SATB)

Composer : Monteverdi, Claudio Edition : Score, urtext Editor : Ewerhart, Rudolf Separate Parts available on demand

Cantata for Trinity Sunday. Par BACH JOHANN SEBASTIAN. Es ist ein trotzig und verzagt Ding BWV 176 Cantata for Trinity Sunday This cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed by Bach, apparently within a few weeks, on texts by the contempotary Leipzig poetess Marianne von Ziegler. It is scored for Soprano, Alto and Bass soloists, mixed choir (SATB), 2 Oboes, Oboe da caccia, Strings and Basso continuo. - Urtext of the New Bach Edition - Performance material (BA10176), choral score (BA10176-91) & study score format 22. 5 x 16. 5cm (TP1176) available for sale/ Répertoire / Partition de Poche

Par CHILCOTT BOB. for SATB and piano, with optional bass and drum kit This dynamic collection presents four jazzy settings of favourite madrigals by Thomas Morley, John Bennet, and Orlando Gibbons. The stylistic piano part may be played as written or serve as a guide, and a bass and drum kit part is available separately for trio accompaniment. / Date parution : 2022-07-23/ Répertoire / Ch?ur Mixte SATB et Piano, avec Basse et Batterie

Magnificat and Nunc dimittis. Par PURCELL HENRY. The present 'Evening Service' is one of the few works in which Pucell sets to music portions of the liturgy, whereas most of the church music of the Master consists of anthems, i. e. cantata-like compositions with biblical text. The alternative between chorus (full) and soloists (verse), so characteristic of this composition, may if necessary be replaced by contrasting large and small chorus. Soprano solo (2), Alto solo, Tenor solo, Bass solo, Mixed choir (SATB)/ Répertoire / S, SATBasse (Petit Choeur Mixte à 5 Voix) et 4 Par

With a debut at Carnegie Hall as part of the New York Pops annual holiday concert, Habari Gani celebrates the inspiring message of Kwanzaa. Drawing from the beat box style so popular in today's a cappella style singing, string bass, rhythmic bass line in the bass voice, and a cappella choral with duets over the top, this is a wonderful selection for a holiday/winter concert or anytime. / Choeur Mixte (SATB) Et Percussions

The Song Of The Grey Seas is a choral composition for SATB (Soprano/Alto/Tenor/Bass) composed by Percy E. Fletcher with words by W. G. Rothery. Originally published in 1915, Song Of The Grey Seas is one of a number of compositions by English composer Percy E. Fletcher. Fletcher worked as the musical director at a number of theatres around London, all the while writing works for light orchestra, chorus and brass bands. Unfortunately, Fletcher's music has largely been lost to the annals of classical history. However, with this sheet music of Song Of The Grey Seas, your SATB choir can revive the forgotten glory of this piece, something that audiences will surely love. / Choeur Mixte (SATB) Et Piano

Ed. Critica Di Alessandro Borin - Ril. Brochure. Par VIVALDI ANTONIO. La Gloria e Imeneo, RV 687, belongs to a group of so-called ‘French serenatas’ by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of importantrecurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725. This critical edition is based on the autographscore held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes anapparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred – since no libretto has come down to us – by the words underlaid to the notesin the manuscript of the serenata. La Gloria E Imeneo, RV 687, belongs to a group of so-called ‘ French serenatas' by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid-1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place inthe ambassador's garden on the evening of 12 September 1725. This critical edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes an apparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred & since no libretto has come down to us & by the words underlaid to the notes in the manuscript of the serenata. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-08/ Répertoire / SATB, Violon, Alto et Basse Continue

A syncopated opening bass lick lays the groundwork for this quintessential a cappella spiritual. When the other voices join, we begin a journey of texture, harmonic development, and form, indicative of the great spiritual tradition. Strong choral writing, with some divisi in the women's voices as the impassioned piece unfolds. / Choeur SATB A Cappella

A thrumming bass line powers the harmonic motor of this seasonal pop selection from 80s group Wham! The melody percolates throughout the choir, while varied choral textures create interesting and supportive sonic layers. An awesome retro Christmas feel! / Choeur Mixte (SATB) A Cappella

Par SWANN DONALD. SATB and piano Guitar and double bass may be included with the keyboard part in Donald Swann’s popular arrangement of this majestic 4th century Greek hymn. The words are taken by the men; upper voices vocalise in a syncopated descant. Originally from Swann’s The Rope of Love, but by popular request now available separately for the first time./ Feuillet / SATB et Piano