A series of outstanding songs, taken from the bestselling Close Harmony Ladies' Barbershop Songbook , selected for their appropriateness for female singers, arranged for close-harmony quartets or women's choirs. Nicholas Hare's beautifully crafted arrangements for SSAA are suitable for anything from four to four hundred singers. He has added helpful performance notes for each of the songs and the arrangements are notated on two stave for easy piano rehearsal. / Choeur SSAA

A shimmering a cappella refrain provides an especially memorable highlight at the end of Mark Hayes', otherwise accompanied, choral arrangement. Originally penned by the 'Father of American Music,' this beloved song has long been associated with the grand pageantry of the Kentucky Derby. / Choeur SSAA

Let all the world in every corner sing was commissioned by Colston's Girls' School in Bristol for the Chamber Choir and their Director of Music Matthew Redman, and was written in August 2008 for the service to mark the school's acquisition of Academy status. It is a tour-de-force for upper voices - the organ introduction leads to a tapestry of rich variety, climaxing with the choir splitting into four parts for the antiphonal cries against the full organ. The music is highly rhythmic throughout, its time changes dictated by the rhythm and stress of the text. / Choeur SSAA Et Orgue

A great final piece or encore, this arrangement of the popular German lullaby, sung by Heinz Rühmann in the film 'Wenn der Vater mit dem Sohne', is set for upper voices and is certain to leave the audience in a good mood. / Choeur SSAA A Cappella

Par VIVALDI ANTONIO. Le 'Gloria' RV 589 est l'un des compositions les plus populaires de Vivaldi aujourd'hui et l'un des plus régulièrement effectué des oeuvres vocales sacrées de l'époque baroque. Le travail était, selon toute probabilité, composé autour de 1716 pendant le temps de Vivaldi à l'Ospedale della Pietà, un orphelinat pour filles à Venise. Bien que Vivaldi 'Gloria' (BA 8953) a été écrit pour voix solistes et choeur mixte, il est probable qu'il a été effectuée à l'orphelinat des filles avec des voix féminines seulement. Prenant cela en compte, arrangement soigneux Malcolm Bruno pour choeur SSAA revêt une certaine pertinence. Le travail, lorsqu'il est réglé pour les voix féminines ou choeur d'enfants, demeure un véritable chef-d'oeuvre. Le 'Kyrie' RV 587 (BA 8954) pour deux choeurs et deux ensembles à cordes, comme prévu ici pour choeur de femmes, affiche son propre charme. Elle peut être réalisée en collaboration avec le Gloria comme un type de masse court. Les deux régimes sont fondés sur les éditions Urtext récemment publiés de ces oeuvres. Les réductions pour piano de Malcolm éditeur de Bruno sont faciles à jouer et à préserver le caractère des oeuvres. - Des dispositions efficaces pour choeur de femmes - Avant-propos en anglais et en allemand - Simple, les réductions pour piano idiomatiques - Kyrie et le Gloria peuvent être combinés pour des performances Les parties orchestrales pour la version originale SATB peut être utilisé pour l'exécution de ces dispositions./ Répertoire / SSAA

Here is a soulful a cappella rendition of the 1968 #1 pop hit by Otis Redding that's great for pop and jazz groups. / Voix Mixtes

An eloquent lyric and a soaring vocal line are seamlessly combined in this tribute to the power of the sun. Expressive and dynamic, the warm harmonies are well suited to the beautiful text. / Choeur SSAA

Par MCCARTHY JAMES. The words of Peaceful was the Night are taken from John Milton?s ode On the Morning of Christ?s Nativity, written in 1629. Milton describes the universe halting in utter stillness at the moment of Christ?s appearing on the earth. (As the poet wrote: ?His reign of peace upon the Earth began. ?) In James McCarthy?s carol, the voices play a dual role, as narrator, and by evoking the atmosphere of a singular moment of frozen time. Although commissioned by Sonoro for performance during the Christmas period, this singable, lyrical setting would fit well into a programme of music suitable for any time of the year. / Date parution : 1905-07-10/ Feuillet / SSAA a Cappella

An earnest soloist is accompanied by the soulful 'oo?s of an a cappella choir during the expressive introduction to this spirited original. Soon we take a turn as the piece bursts into an exciting, rhythmic, and polyphonic tour de force. Thrilling in all voicings! / Choeur SSAA A Cappella

A traditional Xhosa prayer that almost every black South African grew up singing in church. An authentic and medatative setting by the arranger. Duration: Approx. 3:30. / Choeur Mixte SSAA Et Percussions

This work is based on three medieval English song fragments, the first, 'Ich am of Irlande,? an invitation to dance, the second, 'Of every Kinne tre,? a parallel between the hawthorn and the lover, the third, 'Maiden in the more lay,? describing a spirit who lives among the flowers. The viola adds an important dimension to the work, from graceful backdrop to lively playmate. / Choeur SSAA Et Alto

Heinrich Poos is not the first composer inspired by Friedrich Gottlieb Klopstock's poem 'Die Auferstehung', as even Gustav Mahler had already used these verses in the fifth movement of his Second Symphony 'Auferstehung'. Mahler was inspired to use a choral movement at the end of his symphony at the funeral of the conductor Hans von Bülow where a choir sang a chorale based on said text by Klopstock. Heinrich Poos wrote his deeply moving choral piece in remembrance of the organist Hubert Schoonbrodt. / Choeur De Femmes (SSAA) A Cappella

Compositeur Jim Papoulis a créé une oeuvre énergique et inspirant qui fusionne les rythmes des cultures africaines, américaines et latino, et utilise un texte principalement en swahili entrecoupé de phrases en espagnol. Soutenu par shaker, Djembé et agogo cloche, la section du milieu a la sensation d'une vraie fête avec des couches de parole qui nous conduira à la compréhension: '. Ecouter, entendre, se montrer fort' / Choeur SSAA A Cappella Et Percussions