A Roman War Song is a chorus from the opera Rienzi by Richard Wagner. It has been arranged here for TTBB Male Voice Chorus with Piano accompaniment by Percy E. Fletcher with thelyrics translated into English by George Ellerton.Rienzi was one of the composer’s earlier operas but remains one of his most popular. Structured in five acts it was written from 1838-1840 and firstperformed in 1842. The plot revolves around the life of revolutionary Cola di Rienzi who helps to overthrow the established nobility in Rome before the populace also turns against him.Richard Wagner(1813-1883) was a German composer best known for his operas most famously his Ring cycle. His complex textures and shifting tonality is sometimes seen as marking the birth of modern music.

Festive fare for a Christmas of close harmony-The Boosey & Hawkes Concerts For Choirs series is an innovative approach to concert planning for choirs. Each volume contains a wealth of material to help the choral director assemble a concert programme - all from one volume. The anthology draws on the vast Boosey & Hawkes archive and also includes many specially-composed or newly-arranged pieces. The information included at the end of each book will give the choral director invaluable material for brief concert announcements or program notes. Christmas In Blue is a collection of familiar and not-so-familiar festive songs brought together by Nigel Short former member of the King's Singersand conductor of Tenebrae. His own new arrangements join those by Christopher Norton (Microjazz) Karl Jenkins Will Todd Geoff Richards Carol Canning (a former member of the Swingle Singers) and Ward Swingle himself.

Aus Der Oper 'Das Liebesverbot'. Par WAGNER RICHARD. gemCh/ Répertoire / Choeur

Francis Pott’s My song is love unknown sets all of Samuel Crossman’s famous verses but one (commonly omitted when the poem is sung metrically as a hymn). The music begins with offbeat repeated chords prompted—not inappropriately—by the opening to Richard Strauss’s tone poem  Death and transfiguration. In its early stages only trebles and altos are heard. The sequential flow of Crossman’s poem is soon disrupted with particular dramatic ends in mind. After a seemingly anxious harmonic distortion of the opening chords the word ‘crucify’ arises initially as a mere mutter from the lowervoices so timed as to afford assonance with other words in the upper parts and thus remain barely discernible as if only imagined. In due course however cries of ‘Hosanna’ find themselves on a collision course with a rising tide of ‘Crucify’ during which the ‘Hosanna’ faction gradually loses heart and sheep-like defects until a single treble voice—plaintively daring to repeat the ‘offending’ word—is swept aside by a murderous outcry. In due course ‘Crucify’ recurs as a further angry climax before the opening music returns this time expanding into an extended polyphonic final section for double choir and SATB soloists. The principal climax of the work subsides into a form of epilogue crowned sorrowfully by a treble soloist to whom the music in toto has by now presented many challenges. The anthem ends in the key and mood of its opening. The character of its demanding organ part reflects the possibility that it may one day be orchestrated.   My song is love unknown was composed in memory of Michael Renton a craftsman and largely self-taught ‘Renaissance’ man who was not only a member of the Winchester cathedral congregation but also the cathedral’s stonemason. He was beloved of many in the Cathedral community; a true and

Sir Richard Runciman Terry (1865-1938) was a British organist musicologist and editor often known as simply R. R. Terry. He was the first Director of Music at Westminster Cathedral where he also lead agreat revival in English Renaissance music especially the Latin works of composers like Tallis Byrd and Morley. While Terry is best remembered for his contribution to Tudor Church music he also did much topreserve the shanty tunes that died out as the age of the sailing ship came to an end. His two volumes of The Shanty Book have been considered the prime musicological work on the subject for generations. In SailorShanties these tunes have been arranged for TTBB chorus with solo Voice and Piano accompaniment.

Part-song for chorus of men's voices using words from the Greek anthology Marcus Argentarius translated by Richard Garnett.

Prepared from the composer's original manuscript by the distinguished Mozart scholar Richard Maunder this is the first modern Urtext Vocal Score edition of Mozart's Vesperae solennes de confessore K339. Scored for SATB Chorus Soloists and Orchestra. This edition uses a Piano reduction of the Orchestral Score.

34 polyphonies de la Renaissance à nos jours, en complément du volume 1.80 pages. Format : 16 x 24 cm / Choeur Mixte / 80 pages / Partition