Par MC CARTNEY PAUL. Paul McCartney ' Ecce Cor Meum ' est un oratorio pour soprano, triples garçon, choeur et orchestre. La première représentation mondiale a été rendue le 3 novembre 2006 au Royal Albert Hall, Londres. La pemiere de U.S. a donné les moins de deux semaines plus tard, le 14 novembre au Carnegie Hall de New York. Il s'agit d'une Suite chorale magnifiquement construit par le travail et les caractéristiques du Spiritus, à titre gracieux, Interlude, Musica l'Ecce Cor Meum du titre. Pour choeur SATB avec accompagnement de l'orgue./ Recueil / Voix Mixtes

Noel! is an exciting collection for mixed voice choirs, selected and edited by David Hill. The contents range from the Renaissance to the present: the polyphony of Victoria and Byrd, via Bach, familiar settings of traditional and lesser known carols through the ages, and works by today's composers including Richard Rodney Bennett, Judith Bingham, John Tavener and Judith Weir. Mixed voice choirs of all levels will find here new arrangements of favourite carols as well as stimulating works for the Christmas season, from the easy to learn to the more challenging and unconventional. / Choeur SATB

Kommt mit Gaben und Lobgesang. Chorsätze zum Evangelischen Gesangbuch, meist für Chor SSA, z. T. mit Instrumenten. Im Schwierigkeitsgrad sind die meisten Sätze leicht bis mittelschwer. Diese Publikation zeigt sehr deutlich, dass der Verzicht auf Männerstimmen keine Qualitätsminderung bedeutet. Eigenständige Frauenchorsätze, wie sie hier zu finden sind, haben ihren besonderen Reiz und erfreuen sich immer größerer Beliebtheit. Das Chorbuch enthält 87 [2–4stg] Bearbeitungen, von zum größten Teil lebenden Autoren und Komponisten. Da der Herausgeber sich nicht auf leichte Sätze beschränkt hat, sondern auch größere Werke aufgenommen wurden, ist sicherlich für jeden Chor genügend geeignete Literatur vorhanden. Diese hervorragend gemachte Veröffentlichung sollte jeder Chorleiter besitzen. “ [Musica Sacra]/ Répertoire / Choeur Mixte

That They May Be One-Written for the choir of New College Oxford Ut Unum Sint! (That they may be one) sets words from St John’s gospel in which Christ prays that all may be one. This was the title of Pope John Paul II’s encyclical on church unity. Combining atmospheric sections with more dramatic material it was given its first performance by the choir of New College in St Peter’s Rome in June 2015. SATB with Organ. Part of Faber Music’s Choral Signature Series.

Invite a little bit of New Orleans into your sanctuary with this fun celebration of praise. Ever on the cutting edge composer Patti Drennan embraces new territory with her Dixieland-styled “It Is Good to Praise theLord.” The simple melodic line can be taught to your congregation to actively involve everyone in worship. Paul Williams' jubilant text espouses the virtues of praise and Brant Adams's idiomatic ensemble accompaniment allowsyour instrumentalists to really shine. Don't miss this unique collaboration for an unforgettable anthem presentation for your family of faith. It will bring down the house!

The Mamas and The Papas' hymn to the West Coast state California Dreamin ' was actually written in chilly New York City by John and Michelle Phillips before they even formed the band that made them famous. Simon and Garfunkel were New York through and through and Simon's jaunty song about the Queensboro Bridge - aka Feelin' Groovy - uses its local colloquial name. Skeeter Davis, born Mary Frances Penick, was the survivor of a car crash that killed her singing partner Betty Jack Davis. They had enjoyed some success as The Davis Sisters but The End Of The World was the biggest hit of Skeeter's subsequent solo career. In My Room saw The Beach Boys moving indoors from all that sun and sand and recording one of their most reflective and lovely songs. Meanwhile the British invasion was threatening the pop status quo in America and Can't Buy Me Love , from the film Hard Day's Night, gave The Beatles yet another number one in the US charts. Novello Choral Pops: Sixties Hits contains these five decade-defining hits, newly arranged for SATB Choir with Piano accompaniment. / Choeur Mixte (SATB) Et Piano

The Mamas & The Papas’ hymn to the West Coast state California Dreamin’ was actually written in chilly New York City by John and Michelle Phillips before they even formed the band that made them famous.Simon & Garfunkel were New York through and through and Simon’s jaunty song about the Queensboro Bridge — aka Feelin’ Groovy — uses its local colloquial name. Skeeter Davis born Mary Frances Penick was the survivor of a car crash that killed her singing partner Betty Jack Davis. They had enjoyed some success as The Davis Sisters but The End Of The World was the biggest hit of Skeeter’s subsequent solo career.In My Roomsaw The Beach Boys moving indoors from all that sun and sand and recording one of their most reflective and lovely songs. Meanwhile the British invasion was threatening the pop status quo in America and Can’t Buy Me Love from the film Hard Day’s Night gave The Beatles yet another number one in the US charts.Novello Choral Pops: Sixties Hits contains these five decade-defining hits newly arranged for SATB Choir with Piano accompaniment.

Par GOODALL HOWARD. Unconditional Love is Howard Goodall?s heartfelt cantata of remembrance and gratitude, a poignant reflection upon the Covid-19 crisis. It gives thanks to those who sacrificed their lives and seeks to offer solace to the grieving. Yet unifying each of its seven movements is an overwhelming sense of hope, of moving forward in a world rebuilt. The cantata aims to commemorate the selflessness and togetherness felt by communities across the world during the pandemic and it is hoped that choirs of all kinds and in all places will be able to forever mark and celebrate its universal messages. / Date parution : 2022-05-17/ Répertoire / SATB et Piano

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

The Manchester Carols is an inspired collaboration between composer Sasha Johnson Manning and Poet Laureate Carol Ann Duffy. A collection of 12 carols linked with a gentle entertaining narration which reshape and modernise the Christmas story. Its creators wanted to write something that is relevant to and reflects modern society and which acknowledges the fact that even though someone might not subscribe to the religion behind the Nativity story they can still appreciate it as an inspiring magical tale. The carols are for everyone believers or not. Duffy uses the Christmas story as a metaphor for human experience giving usup-close and personal insights into the central characters of the nativity – Mary Joseph a newborn baby and a ‘golden youth’ (aka the Angel Gabriel). As Duffy herself says: 'I think the story is wonderful. There’s a lot we can take from it on a human level even if we don’t take the divine element.' There are hints too of the darker grittier side of the Nativity story – refugees poverty giving birth on the road; and looking further forward there are hints of Jesus’ fate on the cross. These carols were written in Manchester in 2007 and first performed by children from several Manchester schools at The Royal Northern College of Music (and again in 2008). All of us who worked on them – librettist composer artist conductor teachers musicians and singers – live and work in that great city. And so these are and will forever be  The Manchester Carols'.

This setting of ‘O Lux Beata Trinitas’ (ascribed to St Ambrose) weaves together a range of vocal styles and textures to build gradually from the quietly pensive opening section to a rousing unison declamation on the words ‘Deo Patri sit Gloria!’. With the hallmarks of Matthew Martin’s inimitable voice this anthem will prove a powerful choice in evensong or as part of a mixed choral programme.

Don and Nancy have penned a real winner with Filled with the Glory! This gospel-style anthem celebrates the visitation of the Holy Spirit on the apostles and the continuing joy it brings to our lives. Reminiscent of the oldhymns this southern-gospel swing choral is happy and joyful and filled with “Pentecostal power!” Everyone who hears this piece will be “filled with the glory” and anxious to share it with others! You won'tbe able to sit still and your congregation will still be humming this memorable tune for weeks to come.

A special lay-flat comb bound edition. Selected and edited by Barry Rose Sing Precious Music is a superb collection of nine anthems written between the 1960s and today one newly published in this volume: all by noteworthy composers if choral works all memorable suitable for concert as well as liturgical use and all within the capabilities of the modern mixed choir large or small. A Choral Advisor to Novello since 1999 Barry Rose has been associated with many forms of choral music for over sixty years. The Novello Choral Programme is the creation of a panel of advisers preeminent in the British music scene. The aim is to publishessential editions from the best of the wealth of existing choral music ancient and modern while widening the repertoire with exciting new composers and new trends in music making.

Nobody Does It Better sung by Carly Simon came from the James Bond film The Spy Who Loved Me. Marvin Hamlisch and Carole Bayer Sager’s song marked the first time a bond song had not shared its title with that of the film - since the tradition started. It stood as an excellent pop song in its own right and has endured as Carly Simon’s longest-charting hit and the title of her greatest hits album.This choral version has been arranged for mixed voice SATB choir with piano accompaniment by Thomas Lydon.