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

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

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

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.

?Ubi Caritas II: Through Infinite Ages is a closely related sequel to my Ubi Caritas published in 2007. Re-imagining some of the same material such as the main theme from the first piece Ubi Caritas II is in one sense a more sunny version of its prequel. While Ubi Caritas II functions as an independent work it is also intended to be used in combination with the other piece for example as prelude/postlude ?bookends? perhaps yielding a sense of unity and conclusion to the concert or recording. In those cases I would usually recommend ending with Ubi Caritas II.? Ola GjeiloWatch here - CWU Chamber Choir: Gjeilo -Ubi Caritas II: Through Infinite Ages:

Commande du Festival d'Art Sacré de la Ville de Paris 1992 et de Stéphane Caillat. Je me suis beaucoup intéressé dans les années 80 aux différentes liturgies chrétiennes notamment à l'emploi du chant grégorien dans la liturgie catholique des chorals (M.Luther J.Crüger) et du psautier genevois dans la liturgie protestante que j'ai souvent cités dans mes partitions écrites sur des textes religieux (Requiem Magnificat Nunc dimittis).Pour l'Ave verum qui fait allusion à la transformation par le prêtre de l'hostie en véritable chair du Christ ilétait hors de question d'utiliser des fragments de chants de la Réforme puisque le protestantisme réfute la 'transsubstantiation'. Comme je n'y crois pas non plus j'ai donc choisi le texte de l'Ave verum uniquement pour sa simplicité et son aspect sonore mais peut-être aussi son mystère.J'ai écrit ici en outre pour la première et la dernière fois 'a cappella' un exercice délicat qui requiert beaucoup d'attention dans l'écriture et j'ai emprunté à la mélodie grégorienne correspondante la quasi totalité des parties de ténors (la 'teneur') mélodie sur laquelle j'ai construit toute la polyphonie de la partition.J'ai cependant fait appel vers le milieu de celle-ci à la vois de soprano soliste sur le texte en grec (langue originale du Nouveau Testament) du verset 34 du chapitre XIX de l'évangile de Jean : '... un des soldats lui perça le côté avec une lance et aussitôt il en sortit de l'eau et du sang...' dont on retrouve ensuite l'idée au verset 6 du chapitre V de la Première épître à Jean : '... c'est lui Jésus-Christ qui est venu avec de l'eau et du sang...' deux récits auxquels fait écho le texte

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.

Composed in 1948 Kodály's compelling Geneva Psalm 50 uses the original psalm tune as a cantus firmus while adapting the original Calvinist psalter's rhythms to the Hungarian language. In addition to Geneva Psalm 50 he also composed motets from Psalms 114 and 121. Zoltán Kodály's complete choral works for mixed voices were published in a new extended edition in 2018 (Z. 6725 and Z. 6725A). This volume containing 51 compositions has been edited by the renowned conductor Péter Erdei one of the most devoted interpreters of Kodály's choral works. The new edition takes into consideration the manuscript sources for the compositions housed in the Kodály Archives in Budapest. Thepublication features new easily-legible music scores edited on uniform principles. For better readability the new edition is printed in a slightly larger format than previous editions.The present publication is an offprint from the renewed edition of Kodály's complete choral works for mixed voices. It has the same format as the volume and has been printed on excellent-quality pale-yellow paper.