Tudor and Stuart monarchs reigned during a period of political and ecclesiastical turmoil out of which occurred profound developments in musical style.Tudor Anthems (the term loosely applied to cover the years 1520 to 1640) anthologises some of the finest English musical works of that era. It includes sacred works of various lengths and standards of difficulty for mixed voice choir accompanied and unaccompanied by an array of composers including Byrd Dering Gibbons Morley Mundy Parsons Philips Smith Taverner and Tomkins.A comprehensive collection and indispensable resource for any choir's library prepared in an easilyunderstood performing edition by Lionel Pike.'This is an excellent book. It offers variety the familiar and the less so all levels of difficulty and excellent value. Choirs who invest in a set could cover this aspect of their repertoire for years to come.'Andrew Gant (Choir & Organ - March/April 2011) 'A new Tudor anthem anthology will inevitably invite comparison with the popular Oxford Book of Tudor Anthems but Lionel Pike's collection largely avoids overlap with the OUP book and its contents certainly do not disappoint.' Matthew O'Donovan (Early Music Today - March/May 2011)'For many choirs and choral societies the Oxford Book of Tudor Anthems has been a standard source for this wonderful repertoire since it was first published in 1978. This new edition from Novello is now a serious competitor (why have we had to wait so long!). At almost the same price as the OUP volume and with 50 anthems (OUP had 34) this anthology is remarkable value for money. Before considering the contents it is worth mentioning its weight. My choir complains at holding the New Church Anthem Book and this is the same weight as the NCAB paperback (i.e. over a kilogram) and almost A4 in size. Lionel Pike

Par BRUCKNER ANTON. Great art in small forms ? Bruckner's smaller sacred works reveal a more personal side to the master symphonist and creator of large-scale orchestral masses. Throughout his life, Bruckner?s deep faith and dedication to the Catholic liturgy inspired him to write church music in smaller forms suitable for performance at Sunday services or in sacred concerts. The long phrases and shimmering sounds of Locus iste, the chromatic modulations and thrilling climaxes in Christus factus est (1884) and in Virga Jesse (1885), or the use of church modes in almost all the motets present a range of fascinating challenges to any choir.In addition to the well-known motets, the choral collection includes smaller sacred works such as short mass settings (a cappella or with organ) and simple liturgical songs and hymns, some with organ or occasionally with trombones. In addition, the volume presents two somewhat longer works from Bruckner?s youth: a Magnificat and a setting of Psalm 23, both with piano accompaniment.The Choral Collection Bruckner. Sacred Choral Music is an expanded new edition of the successful choral collection Anton Bruckner für Gottesdienst und Konzert (Sacred works for worship and concert, Carus 2.065).A detailed preface and several indexes supplement the musical scores in the editionCHORLEITUNG with information on the works and their liturgical usability. An affordable volume (editionCHOR) is also available for purchase, as well as separate editions in print and digital form.?,New expanded volume featuring 39 sacred choral works at all levels of difficulty?,For use both in worship and in concert / Date parution : 2023-06-01/ Répertoire / SATB et Piano

In this seventh volume of Warlock’s Choral works there is a mixture of work. The Full Heart sets poetry of Warlock’s friend Robert Nicholas and is written for eight-part Chorus with a Soprano solo. A Cornish Christmas Carol is one of two Cornish carols Warlock wrote. This one is for Chorus SATB with SA divisi and a solo Soprano moment toward the end. Corpus Christi written in 1919 requires contrAlto solo and Tenor solo from the choir with an extremely demanding part for the contrAltos. The three dirges All the Flowers of Spring Call for the Robin Redbreast and The Wren and The Shrouding of the Duchess of Malfi were originally published as a set but are performedseparately. The first is for mixed Chorus SATB the second SSAA and the third TTBB with a first Tenor line of almost unequalled challenge.Composer writer and musical scholar Peter Warlock (Philip Heseltine) was active in the early decades of the twentieth century when he distinguished himself by his rediscovery and transcription of early English music his writing on Delius Gesualdo and other many other musicians and for his Choral works and songs among them the carol Bethlehem Down.

Par . Until now, anyone looking for music on the theme of Pentecost and the Holy Spirit for church services and concerts usually had to do so in larger collections that cover the entire church year or parts of it. With Music for the Spirit, there is now a choirbook specifically for the feast of Pentecost for the first time, closing a gap for an important feast of the Catholic, Protestant, and Anglican churches. Over 500 years of choral music from Renaissance to the modern age are covered here with compositions from the German-, English-, Italian- and French-speaking regions. Almost all the great composers of European sacred music are represented, from Palestrina over Byrd, Bach, Mozart, Brahms, Gounod, and Bruckner to Reger, Parry, Stanford, and Distler. With the chronological order, the development of the genre of the Pentecost motet and sacred choral music in general can be traced easily. All pieces can be performed by mixed choir a cappella or with organ accompaniment. In some cases, the accompaniment has been supplemented or arranged by the editor Stephen Harrap, in individual cases also the choral parts, e.g. when the original was composed for male voices only. The scoring ranges from three to eight voices while the length and difficulty of the pieces likewise cover a broad range for a wide variety of choirs and ensembles. / Date parution : 2023-10-31/ Répertoire / Choeur Mixte et Orgue

Two Human Hymns comprises of settings for six-part choir and organ of two poems by 17th century English poets who are almost exact contemporaries; George Herbert and Henry King.The music for the choir is mostly composedin simple songlike shapes which are little hymns. The texts though clearly relate to Christian beliefs could be more widely applicable to all human experience which is why they have called them 'Human Hymns'.Thus Love BadeMe Welcome (G.Herbert) whilst obviously a Christian allegory can be read as a gently hypnotic love song and it is attempted to capture something of this atmosphere in the setting. Like to the Falling of a Star (H.King) although it mentions no God could be a Calvinist sermon capping its lovely account of the wonders of nature with an almost operatically sinister denouement. In the first half of the piece the music bubbles upwards fresh andoptimistic; in the second half like all those doomed sinners it is going down down down.The first performance was given by University of Aberdeen Chapel Choir on 22nd October 1995. Duration: c.7 minutes.

Drop drop slow tears was written for The Arcadian Singers of Oxford University for a recording in 2002. The work is set in a simple three-verse format beginning with upper voices whose melting harmonies are intended to convey dropping tears. The second verse sung by lower voices is more urgent but subsiding to a serene final verse. Here all eight voice parts sing in rich almost claustrophobic harmonies ending on a blurred final chord that fades gently avoiding a firm conclusion.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary 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.James Davy (b.1980) has worked with many choirs in churches and cathedrals around the UK most recently as Assistant Director of Music at Blackburn Cathedral. He is a composer with a real affinity for the voice and has developed a keen ear for effective timbres harmony and word-setting. He has had several works broadcast on radio and television and has written for choirs around the UK and USA. In 2010 he won the Choir & Organ Composition Competition.

Winter Cantata / Vinterkantate (1976) by Per Nørgård for a variable ensemble of soloist mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973) I wrote three simple melodies for two psalm texts by Ole Sarvig: ?The Year? and ?Choral Hymn?. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals which inspired me to write several choral and instrumental works in the following decade based on thesemelodies: ?Frost Psalm? ?Winter Cantata? ? Winter Hymn? ?Cantica? and others. One of these ´Sarvig melodies´ is now included in the new Danish Hymnbook under the title ?Året?(The Year). Ole Sarvig´s poem ?Året? (The Year) is Danish perhaps Scandinavian in character but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata based on Sarvig´s many verses was done by letting soloist choir and instruments change in feelings and moods: from the almost silent inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root) followed by nightmarish tone rows as the ?year-wheel of fortune? is turning (III: Sacrifice The Year) and the temptations of the snake (IV: In Paradiso) to the allegorical fights between egoism and altruism (V:The Cycle Autumn. Purgatory) before the ?waiting for a disaster?- atmosphere at the end of this choral Odyssé. Winter Cantata was from the beginning (1976) designed as an open work to be arranged by different combinations of soloists choir and (different) instruments. The printed version by Per Nørgård and Ivan hansen for soloist mixed choir and instruments (obo violin trombone vibraphone/percussion and organ) is from 1990. The work

Op. 106. Par REGER MAX. Max Reger?s setting of Psalm 100 is one of the ?grand style? choral-symphonic works of the classical modern repertoire. Contrapuntal skill in the tradition of Bach combines with overwhelmingly powerful expressiveness, rich in contrasts. The full harmonic and stylistic breadth of the early 20th century sings out, not only in frenetic song, but also in the search for awareness in quieter passages. Reger?s opulence, tonal and contrapuntal almost throughout, finally culminates in a double fugue with an off-stage orchestra similar to the trumpets of Jericho over ?Ein feste Burg ist unser Gott?. The composer?s declared aim was: ?The psalm must go so brilliantly, that all will be simply ?bowled over?.? / Date parution : 2023-03-11/ Répertoire / SATB [Divisi] et Piano

Paperback-for SATB unaccompanied A flowing carol-style setting of Isaiah 6:1-14 that is unexpectedly calm and serene. The unaccompanied choral parts although almost athletic at times are quite easily mastered.

Das neugeborne Kindelein (The newborn babe the heavenly child) (BuxWV 13)for Mixed choir (SATB) Strings Basso continuoDietrich Buxtehude (1637-1707) was Organist of the St Marien church in Lübeck from 1668 until his death. He wrote many works for specific secular occasions feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings style and length. Almost all texts are sacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo.Dietrich Buxtehude’s Cantata forfour part chorus is suited remarkably well for the Christmas services as well as the general religious services which choruses take part in every year.This opulent-sounding work possesses its every own special Christmas magic. It is a piece which can claim a place in the repertoire of many choruses.- Score with parts (BA717) separate parts (BA717) and choral score (BA717-91) available for sale

Dennis Jernigan's popular and heartfelt praise chorus receives a careful and warm new setting from Benjamin Harlan. The piano accompaniment has an almost classical feel to it while the choral writing is clean and imaginative. A wonderful moment of praise! Available for SATB.

The Bruce Rogers Choral Series-Richard Burchard's stunning setting of Miserere Mei is one of the first in the new Bruce Rogers Choral Series. The harmonic weaving is intense and pulls at your heart and soul. A remarkable pairing of Renaissance purity andcontemporary dissonance help make this selection almost ageless.

This extremely popular anthem is one of the choruses from John Stainer's 'The Crucifixion ' a large choral work usually described as a cantata or oratorio but which the composer called 'a meditation on the sacred passion of the holy redeemer.' In ternary form with coda this Easter anthem's homophonic simplicity and its sincerity of expression have made it one of the standard works of the choral repertoire. _x000D_It can be performed by a choir of almost any size.