Novello Voices Choral Suite Arranged by Hywel Davies. Contains: 'Take The 'A' Train 'Satin Doll' 'Lush Life' 'Things Ain't What They Used To Be' and 'Perdido'. Fabulous SATB arrangements of popular modern songs from West End shows and the worlds of jazz and pop.

Composed by Darius Milhaud  Quatrains Valaisans is a piece for SATB a cappella based on poems by Rainer Maria Rilke. This piece features five different parts each one from a poem whose lyrics are inspired by the Valais area in Switzerland. The composition includes polytonality and polyrhythms that make it highly lyrical cheerful and nice to sing. The five poems selected are: 1. Pays arrêté a mi-chemin / 'Country that stops half-way...' 2. Rose de lumiere / 'Rose of Light' 3. L'année tourne / 'The year revolves' 4. Chemins qui ne menent nulle part / 'Paths that take younowhere' 5. Beau papillon / 'Lovely butterfly' Darius Milhaud (1892-1974) was a composer and a teacher who was also known to be part of Les Six. His composition were known to use polytonality and to include some characteristics drawns from the jazz genre.

2008 marks the hundredth anniversary of this famous baseball song by Jack Norworth and Albert von Tilzer. Written on some scrap paper on a train ride to New York City the song has become one of the most loved and most sungAmerican songs. Invite your audience to sing along for a memorable concert experience! Available separately: SATB SAB 2-Part ShowTrax CD. Duration: ca. 2:30.

Robert Powell is a master with the hymn concerto. Here he takes the Arthur Sullivan tune and turns it into a festival setting accompanied by organ brass quintet and timpani. The congregation even gets to sing. Very accessible and suitable for Easter!

Meghan Trainor and John Legend combine their considerable vocal talents in this ballad that urges us to not take those we love for granted. The classic jazz feel broadens the appeal to a wider audience and transfers beautifully to a soulful choral setting.

Par DE HAAN JACOB. Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting 'Pacific Dreams' Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir. With these ideas and his newly purchased print of 'Pacific Dreams', he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific. Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti. Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his 'Pacific Dreams'. Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney. / Niveau : 3 / Répertoire / SATB

Gustav Mahler's Ich bin der Welt abhanden gekommen expertly arranged for Baritone solo and 8-part Choir (SSAATTBarB) by Bo Holten (2010). Text by Friedrich Rückert. Programme note Gustav Mahler: Ich bin der Welt abhanden gekommen (arr.: Holten 2010) is an arrangement for baritone soloist and 8-part choir of one of Mahler’s Rückert-Lieder. There is already an often performed arrangement for 16-voice choir by Clytus Gottwald which Holten has himself conducted a few times. But Holten does not really think that Gottwald does justice toMahler’s song; among other things it lacks a soloist who can express the “Ich” that is so central to the text. Holten takes his cue from Mahler’s piano setting but with Mahler’s own sublime orchestral setting firmly in mind. The choir thus functions as an (orchestral) accompaniment for the soloist. Holten has taken pains to stay as close to the model as possible within the constraints of what in fact can be sung by a choir. And he has striven to function solely as an arranger and as far as possible to avoid mixing his own personality with Mahler’s.(Klaus Møller-Jørgensen 2012)

Mozart?s Requiem has entered the realm of myth. This is surely the best-known of all sacred choral works and is performed all over the world. Now a new version for solo voices chorus and organ allows this legendary masterpiece to be performed without orchestra and thus without strain on the budget. The choral writing has been taken unaltered from the Urtext of the New Mozart Edition while the organ part by Martin Focke adheres strictly to the original orchestral writing. The result is a version as convincing as it is self-contained.Franz Xaver Süssmayr?s additions have been used to complete Mozart?s unfinished original.Self-contained version withorgan instead of orchestraIdeal for church services and concert performancesClear and well-presented organ partThe Bärenreiter Choir & Organ Series presents great choral works in arrangements for soloists choir and organ; no orchestra is needed.The original orchestral parts have been transcribed into easy-to-play organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ versions by the composer were used. The organ parts are presented on three staves. The choir and solo parts always remain true to the original. You need only one edition for soloists singers and organist alike.