Tonalité : G-Dur -. Par MENDELSSOHN-BARTHOLDY FELIX. Through the addition of an orchestral accompaniment and slight modifications, Mendelssohn integrated this eight-voice a cappella motet, composed in 1844, into Elijah. / Mottet / Répertoire / Choeur SSAATTBB

Plant Et Træ with music by Bent Lorentzen and text by Jørgen Chr. Hansen. For SSAATTBB choir.

Mixed choir (SSAATTBB) and optional brass quartet based on texts by German Baroque poets / mixed choir (SSAATTBB), trumpet in Bb, horn in F, trombone and tuba

VOCES8 Singles Series. Now winter nights by British composer and baritone Roderick Williams uses an evocative poem by Thomas Campion as its text, helping him to pinpoint the excitement of Christmas he felt as a child, and still holds on to. Written for SSAATTBB unaccompanied choir, Now winter nights is suitable for choirs wanting a Christmas/Holiday treat but which requires a medium to higher level of skill. Commissioned by VOCES8 for their LIVE From London festival in 2020.

SATB & SSAATTBB Chorus Soprano Solos a cappella-This collection in two volumes offers seven well-known carols in fresh and sophisticated a cappella settings by Ola Gjeilo. Volume 2 includes excellent arrangements at a mature high school level and beyond that can be selected individually or as a group by choirs in school and church alike.

'for the National Youth Choirs of Great Britain'for junior-upper voice SSSA Choir and Double SATB Choir a cappella (Score)Commissioned by the National Youth Choirs of Great BritainText is by Arthur W. E. O'Shaughnessy, adapted by Jessica Duchen.Composer's NoteWhen the National Youth Choirs of Great Britain requested a short piece for their gala concert at Birmingham's Symphony Hall, I was particularly excited about the prospect of writing for 300 singers. A recent research trip to Estonia resulted in somewhat of a revelation: having heard and seen their world-renowned choirs in action (literally!) has resulted in We are the Music-Makers having the less mainstream 'surround-sound' of upper voices/junior choir at the back and sides of the audience and a further stereophonic double-choir on stage.This poem was sent to me by Tim Williams (my ex Head of English at school), and immediately seemed to fit this occasion. This text has already been set magnificently by Elgar, so partly to avoid any kind of comparison and also to bring its timeless message up to date, I asked my poet friend Jessica Duchen to give it a sligtly more contemporary feel.A poem about global music-making (which ties in with the NYCGB's recent World-Music CD), it speaks about humankind, nation to nation, and the mention of Babel inspiring a 'speakng of tongues' effect by using as many different international words for 'music' as possible as an accompaniment (not an easy task, as many of them are similar to our own word!). These are: French (Musique), Romanian (Muzica), Swahili (Mahewa), Polish (Muzka), Estonian (Muusika), German (Muzik), Japanese (Ongaku), and Spanish (Música). / Choeur Mixte (SSAATTBB) A Cappella