Par DVORAK ANTONIN. Antonin Dvorák?s impressive Stabat Mater for soloists, chorus and orchestra is probably the best-known of the composer?s sacred works. Some painful experiences in 1875 his first daughter died, and in 1877 he lost two other children in quick succession may have led to Dvorák?s preoccupation with the suffering of the Mother of God, who stands weeping beneath the cross of her son. The music enters into the different moods of the liturgical texts with great sensitivity. Nine movements in slow to moderate tempi serve as a kind of Passion meditation, before the ecstasy of a vision of the resurrection wins the upper hand at the end of the tenth movement. With our newly-publishedarrangement for chamber orchestra (flute, oboe, clarinet, horn, bassoon, timpani, and strings), smaller choirs now have the opportunity of performing this work without the choir being drowned out by a large-scale symphony orchestra. The symphonic character of the work is nevertheless preserved. This scoring offers an optimal balance between transparency and orchestral sound. All vocal parts (soloists and chorus) are identical with the original version. Vocal score and choral score can be used also together with the original version, which is in preparation. / Date parution : 2023-06-02/ Répertoire / Choeur Mixte SATB et Piano

Scored for chorus, children's choir, organ and chamber orchestra, St Luke Passion adopts a pared-back focus on choral voices over its 75-minute span. Seeking a more spiritual, inward approach to match Luke's text, the composer eschews settings of interpolated texts as arias and the customary Evangelist and Christ soli: everything is sung by choral forces. A children's choir grants a measure of innocence to Christ as the sacrificial lamb, emphasising aspects of otherness, sanctity and mystery. / Choeur Mixte (SATB), Orchestre Et Piano

Par GOODALL HOWARD. Invictus: A Passion seeks to address one of the most powerful and dramatic of the world’s traditional religious stories through the lens of a diverse, modern world. A variety of texts written or inspired by women form a narrative that describes human suffering and persecution, but also emphasises the human capacity for love and humility in the face of tyranny. These universal messages are brought to life with the emotional clarity and sweeping force of any Howard Goodall score. Invictus: A Passion is scored for soprano solo, tenor solo, SATB choir and chamber orchestra. The vocal score includes a piano reduction. / Choral Music / Répertoire / Soprano, Ténor, Voix Mixtes 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

Ces deux paramètres précédemment non publiés ont été écrits alors que le Psaume Benjamin Britten a étudié au Royal College of Music de Londres, mais, malgré les encouragements de l'Irlande, Vaughan Williams et Howells, n'ont jamais été réalisée au cours de la vie du compositeur.Partition pour choeur et orchestre, les mouvements contrastés montrent beaucoup de traits tant aimé dans la musique de Britten tard. Après avoir été mis au jour à nouveau à partir d'archives, la première de deux Psaumes a été donné le 1er Décembre 2012 par la Chorale Bach et Oxford English Chamber Orchestra, dirigé par Nicholas Cleobury.Out Of The Deep Louez le Seigneur pour choeur SATB et orchestre.Vocal Score. / Choeur Mixte (SATB) Et Piano

(To every thing there is a season). Par RUTTER JOHN. for SATB and piano or chamber orchestra John Rutter sets this timeless and beloved text from Ecclesiastes with a gently flowing melody. The result is a simple and lovely general anthem that perfectly encapsulates the paired images of the text. / Date parution : 2023-06-01/ Répertoire / SATB et Piano ou Orchestre

Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum? in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum?. Here it is called 'Te Deum for Cannons? after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea?, the masque which was composed at almost the same time. Though in many respects this 'Te Deum? is reminiscent of the 'Utrecht Te Deum?, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition? (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum?./ Répertoire / SSATB et Orchestre