For The Children-Karl Jenkins composed Cantata Memoria as a commemorative work exploring themes of loss particularly remembering the children who perished in the Aberfan tragedy in 1966 when a mining spoil tip collapsed and buried a school.The first part of the work deals with the tragedy itself and the second part moves from darkness to light reliving memories and celebrating childhood. Scored for Soprano Baritone Young Voices Chorus and Orchestra Cantata Memoria sets texts by Mererid Hopwood and has been recorded by Deutsche Grammophon with vocal soloists Bryn Terfel and Elin Manahan Thomas.

This medley of three great Simon and Garfunkel songs includes their breakthrough hit The Sound Of Silence, Simon's light-hearted celebration of New York's 59th Street Bridge, Feeling Groovy, and a their soaring anthem about a more metaphorical bridge.The sheet music in this song book has been expertly arranged for SATB/Piano. / Choeur Mixte (SATB) Et Piano

Kirby Shaw has taken this popular Paul Simon tune and made a hot choral for SATB and SAB voices. Its laid-back feel and happy swing-style makes Feelin' Groovy a choice for all groups that enjoy jazz. The use of repetitivepart-writing and unison scat sections make it easy to learn and perform. Success is guaranteed with this Shaw showstopper. A musical pop hit!

Appearing on their classic 1966 album Parsley Sage Rosemary and Thyme Simon & Garfunkel’s The 59th Street Bridge Song (Feelin' Groovy) is one of the duo’s most best loved and covered songs.Originally written by Paul Simon this SATB arrangement with piano accompaniment is a light yet engaging piece perfect for both beginner choirs and more experienced ensembles.

Originally recorded by Nina Simone on her 1965 album I Put A Spell On You Feeling Good instantly became a standard and has since been recorded by many artists including Muse Michael Buble Sammy Davis Junior George Michael and The Pussycat Dolls.The song was originally composed by Anthony Newlie and Leslie Bricusse for a 1964 musical sung by Gilbert Price. After the inimitable Nina Simone recorded an incredible version for her album a huge number of cover versions followed with Muse's attempt being voted the greatest cover of all time by the NME. We still prefer Nina's version though with the powerful emotion that her vocal performances are known for being unmatched by any artist before or since.    This new arrangement of Feeling Good by Christopher Hussey for SATB A Cappella sounds just great injecting a new and fresh take on the classic through the four-part harmonies. This timeless hit is guaranteed to be a surefire hit with your audiences as a familiar tune is sung in a pleasantly unfamiliar way.

Andrew Keeling was the winner of the 2002 Temple Church Prize for his Composition  Ave verum corpus for SATB choir and organ. It is a 14th-century Eucharistic hymn given 21st-century treatment creating an unusual and evocative work.

Tonalité : B-Dur -. Par EBELING JOHANN GEORG / KUBLER EMIL. Gattungen: Kirchenlieder, Sätze - Langue : Allemand / Hymnes et chorals / Répertoire / Choeur SATB

Truly heartening and uplifting words by Dietrich Bonhoeffer with music by Joseph Gelineau and arranged by Erik Routley

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.

In this choral nocturne the composer has taken verses by three different poets which she felt to be linked very closely in the feeling as well as in subject. The phrase ‘‘Will you come?’’ links the first poem by William Barnes tothe Second by Edward Thomas. In the Shelley poem it becomes ‘‘Come soon’’. The approach of night which gives all three poems their nocturnal feeling is gradual; evening begins to approach at the end of the Barns poem; the EdwardThomas is a real twilight poem with flashes of sights and sounds half seen and heard and then night slowly falls in the Shelley poem.To quote the composer ‘‘I have treated these three poems like the three panels of atriptych-three contrasted pieces which are one at the same time linked by the subject matter and by technical means.’’ 'Nocturnal' was commissioned by W D and H O Wills for the Cork International Choral Festival and firstperformed by Morley College Choir conducted by Graham Treacher on 22 May 1966 at the Festival.

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre