Par VAUGHAN WILLIAMS RALPH. Les paramètres de Ralph Vaughan Williams de 71 Sonnet de Shakespeare et de Ben Johnson ' D'Echo élégie pour Narcisse ' sont publiée ici pour la première fois et de présenter un regard fascinant sur le début du développement de l'un des plus grands compositeurs de XXe siècle de la Grande-Bretagne. Ecrits lorsque Vaughan Williams était un étudiant à la Royal College of Music, étudiant auprès de Charles Standford, deux chansons sont une excellente et contrastée paire - le premier deuil véritable adressage - la seconde qu'une parodie madrigalian délicieuse - et tous deux faire des ajouts importants et passionnants pour le répertoire choral. La série de la chorale Programme Faber musique fournit une multitude de concert précieux répertoire incluant les oeuvres de Brahms, Holst, pont, Standford, Warlock, Faure, Saint-Saens, Schubert et Schumann, ainsi que répertoire Noël, choeurs de l'Evangile, arrangements de chansons folkloriques et les hits de la montre./ Recueil / SATB

In Bright Mass With Canons the canonical motifs are present right from the beginning and carry through almost every bar of the work.There are echoes of early English Choral writing and abstracted sections with flurries of sound interspersed with more Choral writing all in the most modern idioms. Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated with artists such as PhilipGlass Björk and Sigur Rós.In the December 2014 edition of Organists' Review Christopher Maxim writes that 'the vocal writing frequently evokes Renaissance polyphony' and 'the language is fresh and contemporary with much zest being added by the organ part.'

By The River. A setting of the final stanza of By the River by the New Zealand poet Mary Ursula Bethell. The river?s flow, which is used as a metaphor for life?s journey, is echoed in the music?s gently swirling contrapuntal lines which build steadily towards the work?s climax.

There is no rose may be considered as having three distinct but musically interlinked phases. The first is reflective in nature a set of musings on the mysteries of Mary as the Mother of God the nature of God Creation and the Trinity; the music lends a sense of the rising expectation appropriate to the season of Advent. This increasing tension breaks out into the angelic chorus Gloria in excelsis Deo a brief glimpse of something other which is then echoed by the fading repetitions of Gaudeamus (we rejoice). Finally the poem moves on joining the procession towards Christmas; a new key the expanding range and Transeamus (we go/proceed/cross over) fading intothe distance serve to provide a musical metaphor for the journey.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering 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. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Andrew Cusworth (b.1984) read music at Magdalene College Cambridge where he was also an Organ Scholar. Recent compositions include Factum est silentium for double choir and organ which won the first New Music for St Paul’s Cathedral Composition Competition and Give ear O ye heavens which was shortlisted for the King James Bible Trust Composition Awards. 'This is a piece whose effect greatly exceeds its simple means and it would be welcome in any serious carol service.' - Jeremy Summerly Choir & Organ

Richard Allain's Night for SATB and Cello. Night Was commissioned by Commotio and recieved its premiere in Merton College Oxford in June 2007 conducted by Matthew Berry and is available on the Herald label (HAVP340). Composer's Note: Given the long phrase lengths of Night it is suggested that choirs Stagger breathing where necessary. The last page of the score requires some explanation. The singers should split into three separate groups: two equal SATB choirs and an SATB solo quartet. Each group sings their own music - each repetition being separated by a long pause - independent of the othergroups. Thus Choir I will begin and as they finish Choir II will commence etc. The music should continue for about two minutes getting gradually quieter with each repetition. Though a common pulse should be kept the groups begin each repetition as they wish: the music should overlap and blur. Against this the solo Cello plays its fragments of melody. The choirs at the conductor's discretion should end in the order they began leaving the cello to play its last notes as the echoes fade. Duration: 20 minutes

Based on O Waly Waly-Penny Rodriguez has set a famous Christina Rossetti text to the music of the traditional English O Waly Waly. It is a creative choral work that is simple in its harmonic beauty. Unison singing echoing phrases between menand women's voices and a full homophonic verse all hover above an elegant and light piano accompaniment.

Marienhymne is a piece on a smaller scale than Tavener’s dramatic cantatas and is written for unaccompanied choir and semiChorus. Tavener was drawn to writer and philosopher Frithjof Schuon’s vision of the Virgin Mary asuniversal and primordial Woman and has used an extract from his work Maria as the libretto in German for this piece. The composer calls for ‘radiance and ecstasy’ and also a ‘great distance’ between the main choir and the echochoir.John Tavener was that rare creature a composer of serious music and serious religious music who also achieved commercial success. He burst into the popular consciousness with the performance of his Song for Athene at thefuneral of Princess Diana but had been a highly respected and frequently-performed composer since the premiere of his dramatic cantata The Whale in 1968.

Uses: General Lent Communion Holy WeekScripture: II Corinthians 13:4; Genesis 28:15; Deuteronomy 2:7; Psalm 23:4A hauntingly beautiful anthem that displays the heart's longing for a more purposefulrelationship with the Savior is found in this singular composition. Replete with images of “the journey ” this folk-like anthem's use of pentatonic sounds adds to the plaintive atmosphere of the music while the echoedcalls of “leading to the Lamb” are memorable and thought provoking. Perfect for the 40 days of purpose! Flute part included. Duration: ca. 3:55.

This 8-minute work set entirely in Latin recounts King David's grief at the death of his son Absalom. Opening with a fiery Piano introduction a solo Tenor emerges from the echoing Keyboard clusters followed by a mournfulchoral response. The music then moves into a molto agitato Dies Irae with angry dissonance and mixed meters eventually resolving into a peaceful and tranquil Requiem Aeternam. A powerful and dramatic work for advancedensembles! Duration: ca. 8:20.