A Choral selection with a difference! This selection of pieces from West Side Story contains three numbers for mixed voices one number for 3 part women's voices and one number for four-part men's voices in order to give any performance more colourful and to give performers an opportunity for variety of tone colour and performance style.

In preparing for publication the 1935 orchestral version of Britten's Te Deum in C it became clear that there were a number of discrepancies between the manuscript and the original 193 vocal score. Some of these were minor:different articulation and dynamic markings something Britten was later very fussy about but perhaps left unchanged on proof because of his relative inexperience at this stage of his career with the processes of musicpublishing. Others were more important: wrong pedal notes for example which Britten failed to notice on proof and which have been perpetuated in performances and recordings for nearly seventy years. These have been corrected inthe new edition of the vocal score and in the orchestral score (Britten clearly used the published vocal score to prepare his orchestral version). The two versions have been made consistent in other details - rehearsal cues andbar numbers for example - since Britten intended choristers to use the vocal score to perform the orchestral version. This would have been an easy task for these is little discrepancy in essential details between versions (arare departure occurs in bars 53 to 56 where the works 'Lord God of Sabaoth' are unaccompanied in the orchestral version but doubled by Organ in the original). Sustained Organ chords are often filled out with arpeggiated stringwriting while the spacing of chords is frequently much wider in the string version with melodies transposed into different octaves. Although harmony in both versions is identical voice leading is sometimes altered in the latterto make it better suited to the idioms of the instruments concerned.So although in essence the two versions are the same the soundworld explored in each is quite distinct. Britten's orchestral version should neither beviewed as an occasional piece nor considered solely a liturgical work like many of his choral pieces from the 1930s and 1940s it is equally at home in church and concert hall.

Here is a fantastic novelty number for your seasonal programming. The joy of holiday singing wrapped in a southern gospel package that will set your toes to tapping. Incorporating three well known spirituals this happy numberstarts with “Mary Had a Baby” and “Rise Up Shepherd and Follow” and ends with a challenge to “Go tell it on the mountain.” Sure to delight!

From Einstein On The Beach-Einstein On The Beach the opera from which Knee Play 3 was extracted was a seminal work that broke all the rules being non-linear non-narrative episodic dreamlike and five hours long.Knee Play 3 is one of the number songs composed for scene changes using numbers and solfege syllables as text. American composer Philip Glass is widely known as one of the most celebrated influential and prolific of the modern composers. He is frequently referred to as a minimalist though he prefers to call himself a composer of ‘music with repetitive structures.' Glass' operas among them therenowned Einstein On The Beach are performed across the globe and he has created work for small and large ensembles film and experimental theatre and founded his own performing group The Philip GlassEnsemble.This eight minute piece is the third Knee Play from Einstein On The Beach and is scored for unaccompanied SATB chorus.

Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere

Par PARRY BEN. Ben Parry presents a trio of Christmas classics from the 60s, 70s and 80s. Two lively, light-hearted numbers, I'm Gonna Be Warm This Winter and I Wish It Could Be Christmas Every Day, are followed by Band Aid's compelling Do They Know It's Christmas? Arranged for accompanied SATB mixed voices. The Choral Programme Series is now a well-established programming tool for many choirs as it offers a wealth of fresh material from many eras and in many styles.  Please view sample pages below. / Choral Music / Répertoire / Voix Mixtes et Piano

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

We Have All the Time in the World is the classic James Bond theme featuring the warm, graceful vocals of Louis Armstrong. Beloved for its sophisticated, smooth sound, the track - written by John Barry and Hal David - has transcended its tie to cinema, becoming one of the most requested songs at weddings, anniversaries and other celebrations. This brand new arrangement by Thomas Lydon for SATB choir brings this standard to the Novello Choral Pops series - the perfect number for choirs seeking a stylish, soulful number to add to their repertoire. / Choeur Mixte (SATB) Et Piano

We Have All the Time in the World is the classic James Bond theme featuring the warm graceful vocals of Louis Armstrong. Beloved for its sophisticated smooth sound the track - written by John Barry and Hal David - has transcended its tie to cinema becoming one of the most requested songs at weddings anniversaries and other celebrations.This brand new arrangement by Thomas Lydon for SATB choir brings this standard to the Novello Choral Pops series - the perfect number for choirs seeking a stylish soulful number to add to their repertoire.

Novello New Choral Series- La Ballade de Jésus Christ is an arrangement of a French carol from the seventeeth century or earlier. The tune is well known as the hymn Let all mortal flesh keep silence from The English Hymnal and this arrangement was commissioned in 2007 by the Oxford choir Sospiri for their CD of Christmas music Videte Miraculum. The text a miniature morality tale has a simple almost childlike quality to it and this is reflected in the shimmering harmonies and soft fleeting dissonances presenting the story as a bitter-sweet fairy tale.The Novello New Choral Series is an inspiring selection of new works from a range ofcontemporary 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.Born in 1963 John Duggan was a chorister at Westminster Cathedral and studied music at Oxford. Whilst still a boy he dreamed of writing in the choral tradition of Victoria Tallis and Palestrina. His vocal music has delighted both singers and audiences across Europe and the USA. He has written for a number of choirs including Commotio Westminster Cathedral Choir the Hildegard Choir and Sospiri and has received commissions from the Edington Music Festival Crossover Intergenerational Dance Group Oxford Youth Dance and The Oxford-Grenoble Association. He composers regularly for film and dance and performs as a singerand choral director whilst working as a recording engineer and producer.

Star of the East by Gordon Thornett for SATB (with divisions) and Piano or Orchestra.Thornett's setting of this Epiphany text also known as 'Brightest and best' makes effective use of arching melodies and a variety of choral textures. The piece builds to a dramatic final verse with a Soprano/Tenor descant before a gentle ending. The accompaniment features bell effects and quotations of Gruber's famous 'Silent night' melody. For choirs who are low on male numbers there are options for omitting Tenor and Bass divisi parts.

God So Loved The World is a work for Unaccompanied SATB Divisi Chorus by renowned Welsh composer Paul Mealor. The work lasts around 4 minutes and was commissioned by the Martin Luther College Choir. The world premiere of God So Loved The World took place on February the 13th 2015 by the Martin Luther College Choir at Chapel of the Christ Martin Luther College conducted by Kermit Moldenhauer. Choral composer Paul Mealor has written a vast number of works both a cappella and with accompaniment. His work has been broadcast internationally at the 2011 RoyalWedding as well as achieving the 2011 Christmas Number One.

Mull of Kintyre is the classic wings hit by Paul McCartney and Denny Laine written in tribute to the picturesque headland of the Kintyre Peninsula in Scotland. The song was wings’ biggest hit in the UK scoring the band the 1977 Christmas number one and was the first single to sell over two million copies in the UK. Today it can be heard sung throughout the football stadiums of England and remains a popular anthem. Arranged for SATB choir with piano accompaniment this choral version of the celtic-tinged hit is ideal for groups seeking an atmospheric addition to their Novello Choral Pop repertoire.

From Symphonic Adiemus-Symphonic Adiemus presents twelve numbers from the Adiemus series in dynamic new scorings for SATB choir and full symphony orchestra.Since it was first heard in 1994 Adiemus has captured the imagination of music lovers worldwide thanks to its unique combination of classical principles with the flavours of world and ethnic music.Symphonic Adiemus includes numbers from the first three albums – Songs of Sanctuary Cantata Mundi and Dances of Time. Recorded on Decca 5793828 by the London Philharmonic Choir and the Adiemus Symphony Orchestra of Europe.