John Tavener's The Martydom Of Saint Stephen for Solo Horn Double SATB Choir and Organ. Commissioned by the Metropolitan and Cathedral Chapter of St. Stephen’s Cathedral Vienna. First performed on 16thMarch 2015 at St Stephen’s Cathedral Vienna by the Cathedral Choir conducted by Markus Landerer. Vienna's iconic gothic cathedral is dedicated to the first Christian martyr and the Metropolitan and Chapter chosewith discrimination and imagination when they asked John Tavener to write this work setting the account of the stoning of St Stephen from the Acts of the Apostles. The choral writing is far from difficult and rich double-choireffects from staggered entries singing the same music creates an impressive sense of the numinous. Tavener fans will not be surprised that the composer suggests that extra male voices might be required. The virtuoso horn part marked 'ferocious - wild and violent' is directed to be played from a gallery and suggests the hail of stones and hatred directed at the saint. The organ mostly offers brief interjections and chordal support until the last 18bars a lullaby(?) for the saint who 'fell asleep in the Lord' as he was being stoned. John himself went to his final sleep not long after composing this majestic work: Eternal memory! - Organists' Review

La renommée de Carl Maria von Weber repose principalement sur , Der Freischütz '. Le succès sans précédent de cet opéra éclipsé tous ses autres travaux et a contribué à leur chute de plus en plus dans l'oubli . Certains travaux tels que , Preciosa ', , Oberon , et , Euryanthe ' , les ouvertures, concertos en solo et sonates pour piano , des lieder et chambre oeuvres jouissent d'une grande popularité et ont été largement connus en Allemagne et à l'étranger aussi tard que la deuxième moitié de la 19ème siècle . Cependant , toute chance d'une renaissance de Weber et influentoeuvre considérable a été perdu dans les années 1920 , quand une édition complète - commencé par Hans Joachim Moser et avec les contributeurs potentiels, y compris Wilhelm Kempff , Hans Pfitzner , Max von Schillings , Fritz Stein et Richard Strauss - a échoué après le troisième volume .Depuis , il ya eu de nombreuses tentatives pour relancer une édition complète des oeuvres de Weber , mais que ce genre de projet , il aurait fallu la collaboration de chercheurs des deux côtés de la frontière inter- allemande , la situation politique après 1945 n'était pas propice à une telle entreprise . Négociations approfondies ont conduit aux premières mesures concrètes dans les années 1980 . L'intention , dès le début , était de placer l'oeuvre de Weber dans son contexte, et ne pas se séparer de sa production musicale de son travail influent comme un écrivain , critique et organisateur dans le domaine musical , mais de publier ses compositions avec ses lettres, journaux et d'autres la production littéraire comme le meilleur moyen de documenter la fertilisation croisée entre ses activités musicales , littéraires et pratiques .Depuis la réunification des deux - groupes de travail allemands concernés - à la Staatsbibliothek zu Berlin , et au Séminaire Musikwissenschaftliches , Detmold / Paderborn - ont coopéré sur l'édition complète des oeuvres musicales ( c. 45 volumes de la série 10 : sacré musique - cantates , des odes et des autres travaux occasionnels- oeuvres scéniques , lieder et des oeuvres vocales - oeuvres orchestrales , musique de chambre , musique pour piano - réductions pour piano - Miscellanea , arrangements et orchestrations , des oeuvres d' attribution douteuse ) . Les journaux (6-8 vol.) Sont édités à Berlin et les lettres (8-10 vol.) Et d'autres écrits ( 2 vol. ) À Detmold .Cette édition complète vise à constituer une base fiable de débat scientifique , ainsi que pour la pratique de la performance authentique de la musique de Carl Maria von Weber . Conforme aux normes d'éditions historico-critiques récentes , le matériau textuel sera basé sur les sources authentiques disponibles , accompagnés par une documentation détaillée de la genèse et une liste de variantes pour chaque travail . L'importance musicologique des travaux sera évaluée en les plaçant dans leur contexte historique , la présentation de leur genèse , l'histoire et les commentaires critiques . Les lettres , les écrits et les journaux seront considérés comme interdépendants et pertinente à l'autre dans les commentaires , donc les lecteurs devraient bénéficier d'une foule de renseignements concis et renvois . / Choeur Mixte (SATB) Et Instruments Divers

The Oxford Book of Flexible Carols is the perfect resource for choirs of all types and sizes. Each piece is presented with flexible scoring options clearly explained throughout enabling performance by various combinations of singers. With carols for Advent Christmas New Year and Epiphany and a fabulous range of accessible quality material this is a must-have collection for all choirs at Christmas. 56 flexibly scored carols Suitable for mixed choirs upper-voice choirs choirs with few men unison choirs small choirs and all other groups New flexible arrangements of traditional carols and modern favourites Brandnew carols written specially for the collection Variety of composers including Kerry Andrew Malcolm Archer Alan Bullard Bob Chilcott Stephen Cleobury Cecilia McDowall John Rutter Mack Wilberg and David Willcocks Wide range of material from Medieval to the present day and including wassails gallery carols world carols and spirituals Accessible keyboard accompaniments suitable for Organ (with or without pedals) or Piano

Par WHITBOURN JAMES. This glorious collection of beautiful choral music by composer James Whitbourn includes fifteen short works drawn from his oeuvre from the first few years of the 21st century. Many of his greatest compositions are included in The Choral Collection, with many of the pieces working perfectly for seasonal performances, while also reflecting the many fruitful collaborations of Whitbourn's distinguished career. All works are arranged for SATB Choir. James Whitbourn has become renowned throughout the world for his acclaimed compositions and settings of numerous texts. He has been described as truly original and an innovator of contemporary British choral music, collaborating with people like Archbishop Desmond Tutu and the Choir of King's College, Cambridge. The former appears here, as A Prayer Of Desmond Tutu, a setting of one of the Archbishop's prayers. His arrangements and compositions for the King's College Choir have been universally critically acclaimed, with A Great And Mighty Wonder, Nunc Dimittis and Were You There? representing these hugely popular collaborations. Whitbourn has also had a very close relationship with the BBC since his beginnings as a composer, working with them on three pieces within The Choral Collection. Eternal Rest and Give Us The Wings Of Faith were both composed specifically for television broadcast, the former (in its orchestral form) was played for the funeral of the Queen Mother in 2002. His longest work, for which he is most famous, is a setting of text from'the Diary of Anne Frank'. There Is No Speech Or Language comes from this work, taking its text from other sources, but that still maintain the beauty and tragedy of the wider piece. The Choral Collection of fifteen compositions by James Whitbourn is full of beautiful, haunting, uplifting and inspiring melodies for SATB Choir and Organ Accompaniment from one of the most treasured British choral composers. The brilliant choice of texts throughout is matched only by the sheer compositional skill of Whitbourn in evoking the emotions of the words in the musical form. Also included are suggestions for seasonal song use, a list of recordings, and fascinating song notes written by Whitbourn himself. The joy of choral singing is nowhere more evident than in a work by James Whitbourn, and performances of any piece within this collection is sure to be remembered for a long time to come./ Recueil / Choeur Mixte (SATB) et Orgue

Johannis Cantabrigiense-Nico Muhly's Third Service (Magnificat & Nunc Dimittis) is a work for SATB Choir and Organ Accompaniment. Commissioned by the Master and Fellows of St John's College Cambridge it was first performed by St John's College Choir on 29th May 2016. A full performance lasts around 7.5 minutes. 'The American composer Nico Muhly has often spoken of his love of the early English church music which he sang as a choirboy and his recent choral works include a Third Service composed for St John's College Cambridge. (Given his love of music by Thomas Weelkes we can perhaps hope for at least six more.) This setting though has nothing to do with the early English repertoire and is in a bold modern idiom more akin to Tippett's famous setting for St. John's. The Organ plays a varied and independent role throughout sometimes with dynamics that are quite different to those in the voice parts. The Organ part is sometimes written on two staves without further comment and it's not entirely clear what is required between pages 3 and 4 where three staves become two. The vocal parts include some modest vocal effects and there are Soprano and Alto solos in the Nunc dmittis. The Gloria of the Nunc is a varied repeat of the Magnificat Gloria together with a subtly reworked conclusion to match the general mood of the movement. - Geoffrey Webber Choir & Organ Magazine 

Composer's notes:The Fool is a time-honoured Orthodox religious figure: a Saint the highest of all who discards everything for Christ's sake. He discards all convention all decency all wealth actual and spiritual and turns himself into a figure of fun - defying all acceptable behaviour - and all religious decency. He stands in the square and lets down his trousers - he stuffs himself with food on Good Friday - he gets drunk - he 'appears'to fornicate wildly. There is a faint possibility (in not the highest of 'Fools') of gaining worldly popularity by such flagrant denial of all moral behaviour. Can such behaviour be too interesting? The true fool however embraces all of this and also (unseen) shrinks before the face of his God. By his behaviour he plucks out all hypocrisy false piety and corruption. He is a figure much needed in our times!!! The way I have tried to tacklethis extraordinary subject is to show him in seven stages from an obscene huge fat traditional clown who is drunk fornicating etc. through a stumbling frail agonized figure to a sallow-faced gaunt business man in a formalsuit staring at an empty glass. Having first revered him then mocked him the 'people' while they get drunk and jabber away at 'Christmas' and at the Feast of Feasts 'Easter' are no longer aware of him. But the audience seeshim - a tiny ragged scrap of mortality lying in a corner and faintly so faintly the voice of the Fool the true Fool for Christ's sake sings above the ribald crowd. 'He has given His life'. The Gogmagogs are the 'people' 'priests' 'singers' etc. and one male singer who can 'create' or 'uncreate' this vast role (singing and acting miming etc.) John Tavener Arranged for SSATBB chorus. Date of composition 2000. Chorus part only.

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists./ Répertoire / Choeur SATB, 2 Violons, Alto et Violoncelle ou Con

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

Svyati - 'O Holy One' for choir and solo cello. Text in church Slavonic. Quoting Tavener: 'I began to write Svyati in early 1995: while sketching it I learned that John Williams father of Jane my dear friend andpublisher was dying. I could not refrain from dedicating it to Jane and to the memory of her father. The text is in Church Slavonic and it is used at almost every Russian Orthodox service perhaps most poignantly afterthe congregation have kissed the body in an open coffin at an Orthodox funeral. The choir sings as the coffin is closed and borne out of the church followed by the mourners with lighted candles. The cello represents the Priest orIkon of Christ and should play at a distance from the choir perhaps at the opposite end of the building. As is Greek drama choir and priest are in dialogue with each other. Since the cello represents the Ikon of Christ it mustbe played without any sentiment of a Western character but should derive from the chanting of the Eastern Orthodox Church.

Quelques-uns des morceaux les plus originaux de compositeurs contemporains de musique sacrée sont rassemblés ici, dans cette superbe collection. Ils sont plus particulièrement dirigés vers les directeurs de chorales qui cherchent à interpréter des morceaux spéciaux pour Noël. Dix-sept chants - dans des versions "a capella" et accompagné. Inclus entre autres "The Lamb" (Tavener), "I Sing Of A Maiden" (Berkeley), "The Holly And The Ivy" (Lutoslawski), "Jesus Christ The Apple Tree" (Poston) et "One Star At Last" (Maxwell Davies). / [Chester Book Of Carols] / Classique / Partition /

13 Jazz Standards for mixed choir (SATB)-With his series Jazz Im Chor Christoph Schönherr began a new genre twenty years ago with Gustav Bosse publishers. Despite numerous imitators his arrangements still retain their freshness. Barenreiter have now brought together the most attractive and frequently sung pieces in a single volume.Any choir interested in jazz now has everything together in one publication: energetic jazz standards heart-rending ballads and joyful gospel numbers. These are always challenging songs which are good to master and never miss the mark. A collection of lasting value which is always worth revisiting.Most songs are arranged for SATB with a couple for SAATB and onefor SSAB.

One of Holst's most under-appreciated works Ode To Death (Op. 38) was written in 1919 in response to the First World War and mourned his friends who had died in that conflict. Scored for SATB Chorus and Orchestra it is a setting of the elegiac poem When Lilacs Last in the Dooryard Bloom'd by Walt Whitman. 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.