Das ist ein köstlich Ding. Par KRETZSCHMAR GUNTHER / SCHWEIZER ROLF. Gattungen: Psalmen, deutsch - Verwendung / Anlässe: L Hautbois und Dank - Verwendung / Kirchenjahr: Pianoingsten - / Psaumes / Répertoire / Choeur Mixte

Beck: Es ist ein köstlich Ding- Raphael, Günter: Ich rede von deinen Zeugnissen. Par BECK CONRAD / MARX KARL / RAPHAEL GUNTER. Psalmen, deutsch - Verwendung / Anlässe: Stundengebet - Verwendung / Kirchenjahr: Reformationsfest - / Psaumes / Répertoire / Choeur Mixte

Es ist ein köstlich Ding. Par DUCIS BENEDICTUS / STADEN JOHANN. Gattungen: Kirchenlieder, Sätze, Psalmen, deutsch - Verwendung / Anlässe: Frieden und Gerechtigkeit, L Hautbois und Dank, Morgen, Mittag, Abend, Psalmvertonungen -/ Répertoire / Choeur Mixte

Will Todd, born in 1970, is forging a strong reputation for himself as a composer who is equally at ease in opera, oratorio, church music and jazz. His style is instantly accessible and lastingly memorable. He spent his formative years steeped in both jazz and the English choral tradition so in his choral music he is able to juxtapose strong rhythmic drive and rich harmonies with exquisitely lyrical vocal lines. 'The Christ-child' is an example of Todd's writing at its most beautiful. Setting words by G.K. Chesterton, slow-moving piano chords underpin sublime four-part choral textures. / Choeur Mixte (SATB) Et Piano

Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB

Psalm 122. Par HAKIM NAJI. In gleich zwei Fassungen hat der renommierte libanesisch-französische Komponist Naji Hakim seine Komposition Laetatus sum für gemischten Chor (SATB) und Orgel (2. Orgel ad lib.) vorgelegt, die hier in nur einer Notenausgabe vereint sind. Neben einer vollständigen Vertonung des 122. Psalms, die für feierliche Introitus und Prozessionen sowie festliche Pontifikal-Vespern und Konzerte gleichermaßen gut geeignet ist, findet sich auch eine gekürzte Fassung dieses Psalms Davids. Sie ist hervorragend als feierliches Introitus (oder Offertorium) an Sonntagen im Jahreskreis zu verwenden. Das bis zu achtstimmige Werk entstand als Auftragskomposition zum 150-jährigen Bestehen des Knabenchors am Kölner Dom und wurde in einer „Orgelfeierstunde' des Kölner Doms 2015 uraufgeführt. In der Tat lässt sich Hakims besondere Affinität zur Orgel auch hier nicht leugnen. Der mit zahlreichen Orgel- und Kompositionspreisen dekorierte Langlais-Schüler sieht für die höchst anspruchsvolle und umfangreiche Orgelpartie dieses lateinischsprachigen Chorwerks gleich zwei Orgeln vor. Da sie aber nicht gleichzeitig, sondern stets im Wechsel zum Einsatz kommen, kann der gesamte Part auch auf nur einer Orgel gespielt werden. Beide Versionen dieses mit Taktwechseln nur so gespickten Psalms setzen bei Chor wie Organist(en) ein hohes Maß an musikalischem Können voraus./ Répertoire / Choeur Mixte SATB et Orgue

Stylish Arrangements Of Selected Highlights From The Leading 20Th Century Composer. Par BARTOK BELA. The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians to learn and enjoy. Bartók for Guitar features selected highlights from Bartók\'s most popular pedagogical repertoire including For Children, Mikrokosmos, Romanian Folk Dances and others, arranged for guitar by Michael McCartney. An accompanying audio CD features demonstration tracks for all pieces and minus-1 tracks for duo arrangements. / Niveau : 3-4 / Recueil / Guitare

Tarik O'Regan's I Listen To The Stillness Of You is taken from his larger work 'Mass Observation'. Mass Observation was commissioned for the University of Michigan Chamber Choir, Jerry Blackstone, conductor, thanks to support from the William K. and Delores S. Brehm Choral Commissioning Fund, and the Barbara Abramoff Levy Fund. / SATB

Par MOZART WOLFGANG AMADEUS. Requiem K. 626 The Requiem, completed by Franz Xaver Sussmayr, in its traditional form. Mozart's final work, the Requiem K. 626, was left incomplete and it is fraught with questions and emotions: the expressive depth of its music, sorrow at the great composer's early death, truth and legend, fragments and attempts to complete the work. The completion of the fragmentary score by his assistant Franz Xaver Sussmayr, who helped him with The Magic Flute, has the character of a historical source with utmost closeness to Mozart's thoughts. - Urtext of the New Mozart Edition - Full score (BA4538-01), performance material (BA4538), vocal score (BA4538-90) and study score format 22. 5 x 16. 5cm (TP152) available for sale - Facsimile edition BVK2346/ Répertoire / Orchestre

Par HUSZAR LAJOS. Lajos Huszár composed his motet for mixed choir Strafe mich nicht in deinem Zorn commissioned by the town of Debrecen for the 26th Béla Bartók International Choir Competition in 2014. The composer says about his work: ''This choral work is the closing piece of a series for mixed choir consisting of three motets in German. The text is from the Bible as translated into German by Martin Luther (parts of Psalms 6 and 7), supplemented by a few words of a chorale. Its style is based on modal key systems and it adapts throughout to the singing voice.''/ Répertoire / Choeur Mixte

Par DEAK BARDOS GYORGY. Parasceve (SATB) contains eight Motets by Hungarian composer, organist, singer and music teacher György Deák-Bárdos./ Répertoire / Choeur Mixte (SATB)

Nach Für Frauen ist das kein Problem und Küssen kann man nicht alleine folgt mit Ich bin schuld unsere dritte Chorausgabe des bekanntesten deutschsprachigen Chansonniers unserer Zeit, Max Raabe. / Choeur Mixte (SATB) Et Piano

Paul Mealor's setting of the Latin hymn, Ubi Caritas , was composed for the Marriage of His Royal Highness Prince William of Wales, K.G. to Miss Catherine Middleton and first performed by the Choirs of Westminster Abbey and Her Majesty's Chapel Royal, St James's Palace, conducted by James O'Donnell, at the wedding service at Westminster Abbey on Friday, 29th April 2011. For SATB choir (with divisi). 'My new piece, Ubi Caritas for the Royal Wedding, takes its text from the sixth century Christian hymn that was normally sung at the service for the washing of the feet on Maundy Thursday. The words, originally in Latin, mean: 'Where charity and love are, God is there. Let us come together in God's love and let us love each other with a sincere heart.' ' and nbsp - - Paul Mealor, guardian.co.uk, and nbsp - Friday 29 April 2011 / SATB

Arrangeur: Andreas Köln. Par SCHUBERT FRANZ. Franz Schubert's 'Stabat Mater” D 175 is one of a number of church works that he wrote for his local congregation in Lichtental. This edition is based on the sole surviving source, the composer's autograph full score. Unlike its like-named companion piece D 383, Schubert uses the original Latin poem here. In his setting of April 1815 he focuses on the first two lines of the text depicting the Virgin's motherly sorrows. This edition is based on the Urtext from the 'New Schubert Edition”. The original figured bass numerals found in Schubert's score have been modernised in all performance material and meticulously adapted to meet the demands of today's performers./ Répertoire / SATB et Piano