Selected for the Jo-Michael Scheibe Sacred Choral Series this Scottish Christmas lullaby is tender and stirring. The Medieval text combined with Knecht's modern harmonies are further decorated by a flowing piano accompaniment. There is a timelessness to this carol.

The Oxford Book of Flexible Carols is perfect resource for choirs of all types and sizes. Each piece is presented with flexible scoring options clearly explained throughout enabling performance by various combinations of singers. With carols for Advent Christmas New Year and Epiphany and a fabulous range accessible quality material this is a must-have collection for all choirs at Christmas.

Rarely has a new setting of such a time honored text been so refreshing. Including the Tallis Canon (with a new text) this anthem brings elegance and depth to profound poetry.

Par WHITBOURN JAMES. This glorious collection of beautiful choral music by composer James Whitbourn includes fifteen short works drawn from his oeuvre from the first few years of the 21st century. Many of his greatest compositions are included in The Choral Collection, with many of the pieces working perfectly for seasonal performances, while also reflecting the many fruitful collaborations of Whitbourn's distinguished career. All works are arranged for SATB Choir. James Whitbourn has become renowned throughout the world for his acclaimed compositions and settings of numerous texts. He has been described as truly original and an innovator of contemporary British choral music, collaborating with people like Archbishop Desmond Tutu and the Choir of King's College, Cambridge. The former appears here, as A Prayer Of Desmond Tutu, a setting of one of the Archbishop's prayers. His arrangements and compositions for the King's College Choir have been universally critically acclaimed, with A Great And Mighty Wonder, Nunc Dimittis and Were You There? representing these hugely popular collaborations. Whitbourn has also had a very close relationship with the BBC since his beginnings as a composer, working with them on three pieces within The Choral Collection. Eternal Rest and Give Us The Wings Of Faith were both composed specifically for television broadcast, the former (in its orchestral form) was played for the funeral of the Queen Mother in 2002. His longest work, for which he is most famous, is a setting of text from'the Diary of Anne Frank'. There Is No Speech Or Language comes from this work, taking its text from other sources, but that still maintain the beauty and tragedy of the wider piece. The Choral Collection of fifteen compositions by James Whitbourn is full of beautiful, haunting, uplifting and inspiring melodies for SATB Choir and Organ Accompaniment from one of the most treasured British choral composers. The brilliant choice of texts throughout is matched only by the sheer compositional skill of Whitbourn in evoking the emotions of the words in the musical form. Also included are suggestions for seasonal song use, a list of recordings, and fascinating song notes written by Whitbourn himself. The joy of choral singing is nowhere more evident than in a work by James Whitbourn, and performances of any piece within this collection is sure to be remembered for a long time to come./ Recueil / Choeur Mixte (SATB) et Orgue

Vocal coach and choral director Mark De-Lisser who has edited and arranged the highly acclaimed Sing Out! series here turns his attention to the a cappella repertoire with five uplifting songs for SATB choir in this sixth pop repertoire book in the series.As before these songs have each been selected for their positive lyrics and heart-warming feel making them ideal to teach to adults and children. With an enticing selection of pop songs including Sigma’s Higher Jess Glynne’s Don’t Be So Hard on Yourself Ronnie Laws’ AlwaysThere Coldplay’s Paradise and James Bay’s Hold Back the River this compilation has something for everyone.Arranged for the first time for SATB choir this book includes a download card with access to full demonstrations and individual rehearsal tracks of each vocal line recorded by members of ACM Gospel Choir. The scores feature keyboard reductions for ease of learning. Helpful hints for performing the pieces and an introduction to beat-boxing are also included in this book giving you everything you need to learn these well-loved songs.

From the hallowed catalogue of classic chorals comes this Robert Sterling masterpiece. Brilliant piano joins with festive choral writing to create a powerful arrangement of the beloved hymn. There is a lot of return for yourrehearsal time with this finely crafted hymn/anthem and the general nature of the text makes it a perfect opener for any worship event. Rediscover the beauty of this dynamic choral!

Vocal Jazz Series-Here is a hard driving hard swinging standard that features both your pianist/ combo and your choir. A full one time through the form as an intro really sets the stage for a stylish rendering. Unison chorals cover the first verse and then break into a choral scat that is hot. There is even a spot to feature your drummer.

Pavane Publishing is proud to introduce Charlie Leftridge - an emerging composer and poet that deserves recognition. The poem artfully encourages us all to live every moment fully and the musical setting is both pensive and uplifting. A great picture insists that we linger long and look hard - similarly this piece demands our time because there is so much to consider. Medium to difficult for community and college choirs.

from A Time for Alleluia-Here is a breathtaking Holy Week offering that will echo through hearts during that important time of corporate reflection. From the best-selling cantata A Time for Alleluia this lovely version of an American folk hymn issensitively joined with Alexander's classic text on the message of the cross. Deeply moving!

Oratorio in three parts-Israel in Egypt HWV 54Oratorio in three partsThe versions of the 1739 and 1756?7 performances The distinguishing feature of our new edition is that it reproduces Israel in Egypt in its complete three-part form: The Lamentation of the Israelites for the Death of Joseph Exodus and Moses? Song. It was in this form that the work was given at its London premiere on 4 April 1739. Handel made extensive changes for the second performance. The reason is often said to have been the audience?s dissatisfaction with the work?s unusual design. However he may possibly only have wanted to satisfy the whims of asoprano who felt under-represented with solo material. Israel in Egypt is made up of a series of contrasting and artfully constructed choruses separated only by a few numbers for solo voice. Part 1 is entirely given to the chorus Part 2 largely so and Part 3 while containing most of the solo numbers still gives ample room to the chorus. Handel shortened several choral numbers and may have taken the opportunity to alter the opening of Exodus. He also added five arias and a recitative for the soprano Elisabeth Duparc. These arias had already been written for insertion in other works of the 1730s and two of them had been sung a short while previously in An Oratorio (1738). There is no libretto containing the changes introduced at the second performance. All the insert arias are reproduced in Appendix 1 of Volume I/14 of the complete edition. The next performance of the piece did not occur until 1756. Handel now compiled an entirely new Part 1 containing a balanced proportion of choral and solo numbers by selecting items from Solomon the Occasional Oratorio and the Peace Anthem. The two other parts retained their original form apart from a few cuts in the choruses and the addition in Part 3 of the aria ?Hope hope a pure and lasting treasure? from the second version of Esther (for both 1756 and 1757) and the aria ?Toss?d from thought to thought? from Alexander Balus (for 1757). Our new edition makes it possible for the first time to perform Israel in Egypt in three different versions: that of the premiere

Par . Until now, anyone looking for music on the theme of Pentecost and the Holy Spirit for church services and concerts usually had to do so in larger collections that cover the entire church year or parts of it. With Music for the Spirit, there is now a choirbook specifically for the feast of Pentecost for the first time, closing a gap for an important feast of the Catholic, Protestant, and Anglican churches. Over 500 years of choral music from Renaissance to the modern age are covered here with compositions from the German-, English-, Italian- and French-speaking regions. Almost all the great composers of European sacred music are represented, from Palestrina over Byrd, Bach, Mozart, Brahms, Gounod, and Bruckner to Reger, Parry, Stanford, and Distler. With the chronological order, the development of the genre of the Pentecost motet and sacred choral music in general can be traced easily. All pieces can be performed by mixed choir a cappella or with organ accompaniment. In some cases, the accompaniment has been supplemented or arranged by the editor Stephen Harrap, in individual cases also the choral parts, e.g. when the original was composed for male voices only. The scoring ranges from three to eight voices while the length and difficulty of the pieces likewise cover a broad range for a wide variety of choirs and ensembles. / Date parution : 2023-10-31/ Répertoire / Choeur Mixte et Orgue

Jon Washburn Choral Series-The Beagle And The Beluga And The Eagle's Fine Times by Scott MacMillan is a cheerful uptempo and jazzy setting of Sheree Fitch's children's poem originally entitled ?The Boogie Woogie BeagleBlues?. This delightfully whimsical piece features tongue-twisting lyrics that will entertain performers and audiences alike: There was a beagle Who loved bagels In fact he loved to beg forbagels Wagged his tail for bagels Whenever bugles blew One day the beagle met a beluga Who played the boogie woogie bugle The beagle giggled 'Hi Beluga!' Then played a jig with hiskazoo. Then the beagle and the beluga Eating bagels blowing bugles Met an eagle who was eager To eat some buttered bagels too... This piece for SATB choir was first performed by theVancouver Chamber Choir in 2010.

David Giardiniere has taken a foundation hymn of the faith and given it a brilliant new treatment complete with brass percussion and optional congregational participation. There is a certain dignity to this writing and thesoaring strains of this beloved hymn will raise your services to new heights as you sing. Use for Reformation or anytime that you celebrate the mission of the church.

'Yankee Doodle' with variations is the most concise way to describe the piece commissioned by the New Haven Symphony Orchestra to commemorate Conneticut's participation in The United States Bicentennial. 'Yankee Doodle' a tune dating back to the Middle Ages in Holland and England (and used by the British as early as 1755 to poke fun at untrained American troops in the French and Indian war) is interwoven with other folk and national melodies to stitch a patchwork or a musical collage. It is a personal view of American history.'To explain my approach to They All Sang Yankee Doodle I must explain my own background because the piece is made up ofmusical memories imprinted from early childhood.My earliest musical memories are a juxtaposition of sounds - hymns and Bach chorales from the church next door where my mother was choir director; early twenties jazz from my oldest brother's dance band; classical piano from my middle brother and my mother's piano studio; and cowboy songs and turn-of-the-century ballads that I have always identified with my father. Concord California where I was born was once part of a land grant from the Mexican government and the Spanish-Mexican influence remained strong even as the town expanded from a sleepy settlement into an American microcosmos with a wide variety of ethnic groups. Over fifty years ago most of us who sang 'Yankee Doodle' in Concord could not trace our ancestry to the founding fathers. Those of us with Anglo-Saxon names were at the end of the Westward push our forefathers having left behind the Eastern cities a few generations before settling for a time mid-continent then restlessly pushing further West. Little is known of my paternal grandfather for instance except that he had come to California from Indiana walking across Nevada desert to become one of the first settlers in Mordoc Indian territory.Of course the native American the Indian was there to greet each new migration and it is his

Noël! 3 is an exciting collection of Advent, Christmas and Epiphany music for mixed-voice choirs, from the easy to learn to the more challenging and unconventional. The contents range from the Baroque to the present: familiar settings of traditional and lesser-known carols through the ages to Howells, Berkeley and Warlock, and works by today's composers including Richard Rodney Bennett, Paul Mealor, John Tavener, Francis Pott and Richard Allain. Mixed-voice choirs of all levels will enjoy these new arrangements of favourite carols as well as stimulating original works for the Christmas season. / Choeur SATB Et Orgue (Ou Piano)