Carl Philipp Emanuel Bach wrote his first great vocal composition the Magnificat in 1749 at the age of 35. It bears all the earmarks of “audition music” i.e. a piece that organists and choir directors had to submit when applying for a new position. This feature is especially evident in its stylistic variety which makes the work a rewarding and colorful challenge for all church choirs. Special attractions are the work's contrapuntal passages which are very similiar in sound and structure to those of J. S. Bach’s B minor Mass. The present arrangement for soloists chorus and organ is intended as a self contained version accessible to a widerange of choirs even those with limited financial means. - Self contained version for soloists (SATB) chorus (SATB) and organ - Ideal for use in church and concert hall - Clear and well presented organ part - Duration: ca. 40 minutes The 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 straight-forward organ reductions whereby the contemporary tradition of such arrangements has been taken into consideration. In some cases the original organ version by the composer has been used. The Organ parts are presented on three staves. The choir and solo parts always remain true to the original. One edition can be used by soloists singers and Organist alike.

Avez-vous également le sentiment que votre chorale pourrait être beaucoup plus fougueux ? Que vos chanteurs s'accrochent aux notes et n'écoutent pas les uns aux autres assez ? Et que le public devrait supporter réellement n'a plus de rester assis ?Si donc, cet ouvrage exhaustif sur la réalisation choral pour pop, jazz et la musique gospel contient les réponses à ces questions : basé sur sa vaste expérience dans la conduite de la chorale, Martin Carbow discute des questions centrales telles que la répétition des méthodes de travail de choeur sans notes, de formation et, par-dessus tout, le sillon dans le choeur des oreilles. En plus d'expliquer les termes techniques, traitant de problèmes rythmiques et présentant des exercices, il a finalement aussi révèle ses secrets de groove. Christoph Schönherr explore la question de l'improvisation vocale dans des chorales, la relation de la parole et les sons ainsi que l'importance de la réalisation et le rôle de la chorale dans le choeur de jazz et pop, parmi d'autres. Cet ouvrage fournit également des informations sur davantage les cours de formation pour choeur terrible... / Divers

Par SCHUBERT FRANZ. Mass No. 6 in E flat major, D 950, is a mass composed by Franz Schubert. It was originally scored for two tenor soloists, soprano, alto and bass soloists, SATB choir with divisi, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, violin I and II, viola, cello, and double bass and is presented in this edition as a vocal score for SATB. It was Schubert's final setting of the order of Mass, and is classified as a missa solemnis. / Urtext / Répertoire / Travaux Pour Choeurs

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

80 Motetten und Choralsätze für gemischten Chor (meist Coro SATB) a cappella „Eine interessante Veröffentlichung, die als Standardwerk über die lange verkannte, qualitativ hochstehende Musik des Jahrhunderts der Romantik sich anzuschaffen lohnt, und die in die Handbibliothek jedes Chorleiters und jeder Chorleiterin gehört!“ (Württ. Blätter für Kirchenmusik 2/1993)/ Répertoire / Choeur

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.

Dvorak's Mass in D Op.86 was completed in 1887. It is scored for Soprano, Alto, Tenor and Bass soloists, SATB and organ, or SATB (with optional soloists) and orchestra. Edited by Michael Pilkington. / Choeur

Comme son titre le sugge?re, cette oeuvre (compose?e en 01/01/12) a pour but d'e?tre un reflet musical, une amplification, de la parole biblique, La musique ici est ne?e presque naturellement des sonorite?s des textes choisis, chante?s en allemand (dans la traduction de Luther), Quoique le langage musical soit fort diffe?rent, l'esprit qui est a? l'origine de l'oeuvre est tout a? fait le me?me que celui qui animait de?ja? un Heinrich Schu?tz (le titre Sinfonia Sacra est directement un hommage aux Symphoniae Sacrae de ce dernier), Les choeurs portent l'oeuvre de bout en bout, L'orgue et les percussions (timbales, grosse caisse, cymbales, gong, tamtam) cre?ent un contexte sonore mouvant et colore?, extatique ou myste?rieux, grandiose ou de?pouille?,Le premier mouvement met en musique le Psaume 121 : son de?roulement e?voque le profil d'une montagne,Le deuxie?me est ba?ti sur un extrait de la Ie?re Epitre de Pierre qui met en opposition de manie?re saisissante la vanite? de la vie humaine et la transcendante e?ternite? de Dieu,Le dernier mouvement est ba?ti sur le Psaume 150 : la louange y prend des tons tour a? tour jubilatoires, incantatoires, et finalement infiniment recueillis, ExécutantsChoeur mixte SATB (au moins 40 voix)Grand orguePercussions (3 exécutants) Conducteur : DLT220Matériel : DLT2220ECahier des choristes : DLT2221 / Choeur Mixte

Waisenhausmesse (C)-This Mozart Mass (together with BA 7520 & BA 7522) have been arranged for solo voices chorus and organ from the Urtext of the ?New Mozart Edition? thereby making them accessible in all their beauty to choruses and church choirs with limited financial means at their disposal. Martin Focke has based the ?concertante? organ parts on the orchestral writing doing full justice to the timbre of the original. The solo parts and choruses of course leave the Urtext of the ?New Mozart Edition? entirely untouched.Mozart had barely turned twelve when he composed and conducted his Missa solemnis in C minor K.139 to inaugurate a new orphanage on Vienna?sRennweg in 1768.This astonishing early work adheres to the form of a Neapolitan cantata mass in which the separate movements (?Gloria? ?Credo? etc.) are themselves made up of self-contained choruses ariosos and ensembles.This frequently heard Mass is characterized by a sharp contrast between its cheerful underlying C major mood and gloomy dramatic passages in the minor mode.Self-contained version with organ instead of orchestra Straightforward and easy-to-play organ part Ideal for church services and concert performances Original version for soloists choir and orchestra BA4858

La Lune Est Morte is a piece for SATB containing the score for Mixed voices or Equal voices on music by Georges Liferman. With lyrics by Jacques Mareuil this lyrical piece is quite melancholy: “Cry Pierrots Poets and Black cats the Moon is dead” being the main recurrent sentence. The chorus is sung by all voices while the verses lyrics are only sung by the Tenor and the Bass accompanied by a melody of “o” by the two other voices. Georges Liferman is a French composer and writer. His work includes French songs and French musicals mainly with very famous interpretationsin France by artists such as France Gall Juliette Gréco and Yves Montant.

James Cartwright Macy (c.1845-1918) was an American songwriter and composer. Born in New York City he spent most of his life living and working in Cleveland. He wrote dozens of popular songs and pieces for the Piano as well as hymns and anthems. He also wrote under several pseudonyms meaning that a large proportion of his work could presently be unattributed to him.Little Tommy Went A-Fishing is possiblyMacy’s best-known work today. It is presented here for SATB choir with a Piano reduction provided for rehearsal purposes. A version for TTBB male voice chorus is available in a separate edition.

The vocal score of Choral Symphony by Australian composer Carl Vine. Scored for SATB choir organ and orchestra Carl Vine’s Choral Symphonysets four ancient hymns in exotic languages that have not been spoken for thousands of years: ‘Enuma Elish’ an Akkadian creation myth describing the creation of the world from primeval chaos and three Homeric Hymns  to the Earth the Moon and the Sun (in Greek 'Epic Dialect'). The vocal writing in this 26-minute symphony (Vine’s sixth) is homophonic throughout reflecting the composer’s wish for the workto ‘revel in the power of the human community’. 

A concert edition of Verdi's Grand Chorus (Finale Act II) from Aida arranged here by Arthur Thornley. For SATB Choir with Piano accompaniment.

Howard Goodall's setting of Spared by Wendy Cope arranged for SATB divisi and piano accompaniment. This work was first performed by The Chapel Choir of The Methodist College Belfast on 27th October 2005 at St Anne's Cathedral Belfast. Wendy Cope's poem movingly evokes the events of September 11th 2001 an event that Howard Goodall witnessed firsthand. Faber Choral Signature Series introduces a wealth of new or recently written choral music to choirs in search of fresh repertoire. The series draws in a rich diversity of living composers and includes both lighter and more challengingcontemporary works offering a thrilling array of varied styles.

Hail! Smiling Morn (Roud Index No 1346) was written by Reginald Spofforth in 1810. It has been described as the ?most popular glee in the entire repertoire? and remains a much loved concert item amongamateur choral groups all over the English-speaking world. It is presented here for SATB choir with a Piano reduction for accompaniment purposes. Reginald Spofforth (1769-1827) was a British composer organist andteacher. He wrote several dozen songs glees and hymns but no instrumental music. His music was performed at Covent Garden and successfully published during his lifetime but most of it has now been lost. Hail! SmilingMorn is undoubtedly his best known work.