What a fantastic way to bridge the gap between unison singing and two-part harmony! This winning addition to the Two-gether We Sing series features 10 festive chorals for the holidays, written and arranged with tuneful melodies and strong, independent counterlines. Put several of these holiday songs together to create a December performance. Sing one, sing two, sing a few! Recommended for grades two through seven. Book is 100% Reproducible. / Choeur

Holst's collection of Twelve Welsh Folk Songs was published in 1931 with the lyrics translated into English by Steuart Wilson. Two of these are presented here scored for SAB three-partchorus with a Piano reduction provided for rehearsal purposes. Gustav Holst (1874-1934) was an English composer and teacher. Having studied under Stanford and Parry he became a close friend of Vaughan Williams they would often critique each other’s work and influenced composers such as Tippet and Britten. He is best remembered for his Planets suite.

Premiered by the Santa Rosa High School Chamber Singers at the recent ACDA National Convention in Chicago. Robert Young sets two divergent Rossetti poems in lovely contrast with expressive melodies and lush harmonies. These twoshort a cappella gems will show off your choir's exquisite sound. Available: SATB divisi a cappella.

Par BENJAMIN GEORGE. A beguiling 20-minute work for countertenor, women's voices and orchestra, Dream of the Song, George Benjamin's first work since his ground-breaking opera Written on Skin, was premiered in 2015 by the countertenor Bejun Mehta, the Netherlands Chamber Choir and the Royal Concertgebouw Orchestra conducted by the composer. Employing a reduced orchestra (two oboes, four horns, two percussionists and two harps and strings), the work sets verse by three major poets who spent formative years in Granada- two Hebrew poets of mid-11th century, Samuel HaNagid and Solomon Ibn Gabirol (sung by solo countertenor in English versions by Peter Cole), and Gabriel Garcia Lorca (sung by the female chorus in the original Spanish). This inspired pairing of texts creates a rich, melancholy and strange poetic conjunction, expressed most beautifully in the final movement which, overlaying soloist and choir, offers two simultaneous visions of dawn, conceived a millennium apart./ Répertoire / Choeur

Ein Lämmlein geht und trägt die Schuld-In the autumn of 1721 when Georg Philipp Telemann became cantor at the Hamburg Johanneum and music director of the city?s five principal churches he faced the challenge of composing and performing a new Passion setting every year. The ninety-minute St. John Passion of 1745 was written in a winningly clear and transparent style with two large choral numbers six chorales (probably joined by the congregation) and several turbae that pose interesting yet manageable demands on the chorus. The plain and unassuming recitatives and the eleven sharply defined yet contemplative arias give soloists broad leeway for artistic interpretation. This volume follows the Urtextof vol. 29 of the Telemann Edition thereby offering a reliable text at the pinnacle of modern scholarship. Contemplative setting of the Passion Urtext from the Telemann Edition Straightforward piano part

?I asked my friend the poet Einar Askestad if he could write a poem for me about love between father and son brothers and God. I felt that these forms of love are seldom sung about. The poem moved me greatly and I have tried to put music to these words which is simple yet full of beauty. In the four movements of this suite-like piece various aspects of these relationships are conveyed?. - Mårten JanssonBiography:My music is my own and I have never tried to be original. That has always been my motto and I have only tried to use music to express all the feelings life consists of. This has led people todescribe my music as both ?so sad that it sounds like birds who have lost their wings? and ?the happiest classical music we ever heard?. I have also always preferred beautiful music to atonal music and that is surely the reason why the most part of my music is more on the sad side but what a dream it would be to be able to create beautiful music that?s bubbling over with joy! My compositions consist of almost only sacral music. This is to express my own faith but also my appreciation and respect for the timeless texts that have been used for centuries after centuries.In 1994 I was lucky enough to start conducting the female choir Carmen and I conducted them until we decided to disunite 2010. This is of course the biggest reason why most of my compositions are for female choirs the knowledge that what I write during the night will be tested the next evening is a driving force that not so many are lucky enough to have.I work as a voice music theory and conducting teacher and conductor in Uppsala were I was born -65 and still live. My education is in short: two years of musicology at Uppsala University and a MFA in Music Education and Dalcroize Rhythmics at the Royal Academy of Music in Stockholm.- Choral works a cappella.- Sample pages for download: www.baerenreiter.com.

Mostly inhabiting a hushed pianissimo the free floating melismas and luminous harmonies of this work for two antiphonal choirs of female voices explore one word: ‘chiara’ (‘clear’ in Italian) and its equivalents in a few other languages. Knussen somewhat cryptically writes that the piece ‘has something to do with St Clare angels and canons.’ The striking atmosphere – fleeting hauntingly elusive and almost mystical – makes this his only choral work ripe for rediscovery.

for two chamber choirs. Par STANCZYK MARCIN. Trois chants d'amour is a piece for two choirs. In the work, the Composer draws attention to the importance and universality of love and the feelings deeply related to it, such as jealousy, longing and hope. In the following parts of the work, he presents various faces of love. The author of the text is Yves Bonnefoy. / Date parution : 2023-06-01/ Répertoire / Choir

Description One of two new additions to the Novello Handel Edition, the vocal score of Let God Arise (HWV256b), originally written as one of the so-called Chandos anthems, was re-scored for the Chapel Royal in 1724. Edited by Donald Burrows. Songlist Let God Arise

Eleven Songs And Two Harmonizations arranged for voice and piano. Edited by John Kirkpatrick.

Kantate zum Sonntag Sexagesimae. Leipziger Fassung. Par BACH JOHANN SEBASTIAN. The cantata dates from Bach's time in Weimar. The instrumental scoring of four violas and basso continuo - in the Leipzig performances enhanced by two recorders doubling viola I and II at the octave - is unique in Bach's cantata oeuvre. It lends a dark, luxurious sound to the four movements which is gently illuminated by the recorders. The work - with its instrumental sinfonia, a short secco recitative and an extended accompagnato recitative (both of which contain arioso inserts), a short soprano aria and a simple closing chorale - makes no great demands on the performing forces. Admirers of text interpretation by means of instrumental figuration will be richly rewarded./ Répertoire / Choeur

Two popular songs for mixed choir a cappella Malato esta el hijo del rey and El rey que muncho madruga by Joaquin Rodrigo.

Building Healthy Middle School Singers-As any school choir director knows change is the name of the game! A changing voice is just one of countless physiological and emotional changes that middle school students experience.Knowing the general limits of male and female changing voices as well as the specific capabilities of your students are two keys to building healthy-and happy!-middle school singers. This book is an accessible must-read resource for any middle-school choir director looking to foster stronger more capable musicians and offers 25 warm-up exercises along with customized grade-specific tips for using them along with free access to accompanying audio recordings.