A touching setting of an anonymous love poem in broad Scots this part-song was composed for the wedding of some friends of the composer.A welcome addition to the canon of MacMillan's secular choral works the piece displays scoring similar to that in his Burns arrangement 'So Deep': the attractive folk-like melody is clearly stated sometimes with full harmony and in other places picked out by supporting drones. Multiple divisi are scored in all voices and also an optional soprano solo. Suitable for intermediate standard choirs.

Tarik O'Regan's 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.   Composer's note:   Mass Observation is a meditation on the histories of our varied ambivalent relationships with surveillance in its myriad guises. The use of technologies that sate our desires to be watchedand heard (safety tracking empowerment and pride) has in some sense always been able to be weighed against our anxieties around invasions of privacy (physical and psychological harm hacking subjugation and embarrassment). The work takes its title from the British social research organisation Mass-Observation which aimed to record everyday life in the United Kingdom. Founded in 1937 Mass-Observation controversially paid investigators to anonymously record people's conversation and behaviour at work on the street and at various public occasions including public meetings sporting and religious events. Scored for chorus and percussion sextet  Mass Observation ebbs and flows between various polarities (human voices and percussion instruments pitched and unpitched sounds clear and opaque tonalities) over the course of its thirteen movements. There is a ritualistic nature to the overall pacing of the work reminiscent of a liturgical mass setting. The two groups of musicians are rarely aligned: for much of the piece they watch and listen to one another in silence.    Duration approximately: 40 Minutes  

Mark Hayes has set this anonymously written popular text to a wonderful tune with rich accompanimentInstrumentation available (HMC2007a): Fl Ob Bb Clarinet Bsn/BassClarinet (Sub.) Hn in F Percussion and Full Score

Vocal Score for the opera Arianna In Creta by G.F. Handel. Libretto prepared anonymously from Teseo in Creta by Pietro Pariati.Please note that this piano score does not contain a realisation of the figured bass. The left hand of the piano part is the figured basso continuo of the opera with occasional octave transpositions and the incorporation of some of the viola part. The right hand is a reduction of the main orchestral material. Item numbering and bar numbering accord with the full score and parts.

This cantata for soprano and baritone soli chorus and organ was commissioned by the Dean and Canons as part of the musical celebrations in honour of the Quincentenary of St George's Chapel Windsor. Five poems selected for the composer by Canon Stephen Verney explore the different and often opposing facets of Faith and it's demands upon the individual culminating in an optimistic vision of the union of divine and human love. The cantata is dedicated by Gracious Permission to Her Majesty the Queen.

Arranged for SSSAAATTTBBB the lyrics are from an anonymous writer of the fourteenth century and have been adapted by the composer.The composer says: 'Woefully arrayed is a supreme choral setting by William Cornysh Junior who died in 1523 of a text usually regarded as of anonymous composition though there have been some attributions to John Skelton. It is a thoughtful powerful meditation on Christ on the Cross and though Cornysh’s setting has remarkable intensity and contrapuntal artistry I felt a strong wish to add my own response to this fine text. The different versions of it have different verses that used by Cornysh has three verses (plus therefrain) while there are others with four or even five (one attributed to Skelton has five). I have chosen to restrict myself to the three used by Cornysh using my own adaptation of the modernised words which yet incorporates some archaisms a deliberate choice for reasons of rhythm and verbal sound. This setting was commissioned by the Three Choirs Festival 2009 for Stile Antico to whom it is dedicated.''Difficult to perform but not difficult to listen to this 2009 Three Choirs Festival commission was first performed by Stile Antico who have since toured it. It is a heartfelt response to the fourteenth-century text passionate and anguished Christ is on the cross ‘woefully arrayed’. Although written for a secular choir it is a piece that could be sung by many cathedral and collegiate choirs: there is considerable doubling between the sixteen lines and a keyboard reduction to help the initial sorting out. Above all it is dramatic and would communicate directly to audiences if given a chance to hear it.'       - James L Montgomer RSCM review

Compositeur : Anonyme espagnol (vers 1500) Restitution : Jacques Barbier Nombre de pages : 2 Commentaires : Espagne Série : Renaissance Cette oeuvre est une pièce caractéristique de la production hispanique contenue dans les différents chansonniers à l’aube du 16e siècle. Outre les pièces dédiées à la Vierge, les chansons satiriques ou humoristiques (cf. “Cucu” réf. ACJ 690), la veine mélancolique y est prédominante ce dont témoigne cette chanson anonyme, à l’instar des autres pièces de Juan del Encina. Aussi l’écriture y est-elle plus stricte avec ses imitations dans les entrées des différentes voix, laissant ainsi à chaque partie la possibilité d’exprimer la nostalgie de ces phrases languides. Comme pour les autres pièces de ce répertoire, le propos musical s’enrichira éventuellement de flûtes, violes ou autres instruments se mélangeant ou s’opposant aux voix.

Judith Clurman Choral Series-Here is a spirited setting of an anonymous Christmas text that though contemporary has a dance-like medieval quality to it. An ideal program opener or concert theme it requires an excellent pianist. Duration: ca. 2:05.

Ian Venables' Requiem Aeternam for SATB and Organ. Comissioned by Bryce and Cyntha Somerville. In memory of Thomas Bryce Somerville. Duration: Approximately 5 minutes   Ian Venables's Requiem Aeternam is the composer tells us his first foray into choral music 'for many years'. It is a five-minute setting of words from the Latin Mass for the Dead for SATB choir (with divisions) and organ. The piece is broken into contrasting sections - a reflective canonic opening recalled at the end interspersed with sections built from repeated chords the second of which provides the climax of the piece. I'm notsure the whole holds together but it is dramatic - and not too demanding and on the right occasion might be an effective funeral or memorial service piece. - Organists' Review

Kantate zum Reformationsfest [Rekonstruktion: Reinhold Kubik]-J.S. Bach's Ein feste Burg ist unser Gott for SATB and Orchestra.Bach's Reformation cantata based on what is probably Martin Luther's most famous hymn evolved over a period of several years. At the beginning was a Weimar cantata for Oculi Sunday 1716 now missing which was based on the hymn with an instrumental quotation in the opening aria and with the final chorale. In the Leipzig years around 1730 Bach wrote a cantata for Reformation Day using this material. It began with the first verses of Luther's hymn in a simple four-part setting and also included the other verses. Later on in the 1730s or 1740s Bach replaced the introductory chorale movement with achorale setting which was unique spacious and motet-like in its style; this uniquely in this respect incorporated the choral writing in an instrumental canon for oboes and organ continuo. The powerful opening chorus is followed by recitatives and arias which reflect the full breadth of Bach's art of word painting and emotion. One of Bach's most magnificent cantatas one of the greatest works in the history of music. In addition to the complete performance material the arrangements of movements 1 and 5 (with 3 trumpets timpani as playing score) by Wilhelm Friedemann Bach are available.

Dale Warland Choral Series-Winner of the 2007 VocalEssence Carol Competition this flowing setting of a 16th century anonymous text features the shimmering sounds of a Celesta as it echoes and comments upon the vocal phrases creating a magical andmysterious atmosphere. It may also be performed with Piano or other Keyboard instrument. Duration: ca. 3:55.

Mary Stevenson's celebrated poem from 1936 that has long been thought to be anonymous is set here as a sumptuous choral work by Joseph Martin.

Fragments Of Choral Works And Canons, Sketches. Par SCHOENBERG ARNOLD. Arnold Schönberg est la figure centrale du monde musical du XXe siècle. Sa signification musicale était déjà évidente pendant sa durée de vie, mais son influence à titre posthume a augmenté énormément. Son travail a ouvert la voie à révolutionnaire des changements dans la perception musicale. Cette édition complète aspire à être tout aussi indispensable pour la recherche, ainsi que pour la performance. L'édition est publiée en deux séries : série a en format folio contient des oeuvres tout rempli, toutes les partitions piano préparées par le compositeur lui-même et les oeuvres tout inachevées convenable pour la performance - également des fragments (gros scores) qui sont mieux adaptés pour être imprimées dans un tel format. Série B, au format in-quarto, contient des versions précoces, des croquis, des idées et des fragments ainsi que Genèse et un commentaire critique. / Date parution : 1992-10-06/ Répertoire / Choeur Mixte