Johannes Brahms' Let Nothing Ever Grieve Op.30 composed for SATB choir with Piano accompaniment.

This title is taken from the compilation French Songs And Choruses For Mixed-Voice Choir (NOV165198)Calme Des Nuits is taken from Ravel's work 2 Choruses Op. 68. In the oeuvre of Camille Saint-Saëns who is known primarily for his Carnival of the animals there are two choral pieces op. 68 composed at the end of 1882 which exhibit genuinely exceptional quality. Presumably having written them himself Saint-Saëns devoted considerable time and attention to these two texts Calme des nuits (Calm of the night) and Les fleurs et les arbres (The flowers and the trees). Both pieces display a depth of expression of akind that he is frequently denied as possessing to the present day. In Calme des nuits the calm of the night is impressively captured in music and contrasted with the garish and the raucous. Numerous long note durations and the almost exclusive adherence to the piano sphere captivate both the performers and their audience alike until the piece fades away into virtual nothingness.

Medley-Bruno Mars is the number one selling artist worldwide for 2011 by digital sales and a tremendous young talent. Experience the range of his talent with this 6-minute medley that showcases his success. Opening reflectively with a snippet of ?Lighters ? it moves into the Grammy-winning ?Just the Way You Are ? and then transitions into a quicker pace with the reggae-infused Billionaire The Lazy Song Nothin' on You and Grenade. Available separately: SATB 3-Part Mixed. 2-Part ShowTrax CD. Rhythm parts available as a digital download (syn gtr b dm). Duration: ca. 5:50.

Nothing evokes the feel-good shimmer of the '70s pop world better than the songs of ABBA. Lin Marsh has created some stunning choral arrangements of five of Abba's very best including Super Trouper The Winner Takes It All and Mamma Mia! specially for SATB chorus with full Piano accompaniment. Add a dash of disco magic to your next choral programme - they'll be dancing in the aisles!

Nothing beyond-Ingenting Utanför / Nothing Beyond is another collaboration between Mårten Jansson and the Swedish poet Einar Askestad. This a cappella choral work deals with sorrow and loss.After a forceful harmonically ambiguous section and a clear break in the music the piece ends with a comforting decrescendo of reconciliation. It was commissioned by the Uppsala female choir ?La Cappella? and is dedicated to its choral director Tony Margeta.

A Choral Collection-Created by Geron Davis this collection will serve many needs in your local church with its songs of praise and worship of adoration and humility of the Lamb's suffering and death for our sins and of thanksgiving for God'sgoodness and mercy. Songs include:Jesus You Are Welcome We Serve A Mighty God/Mighty God We Serve We've Come to Worship We Sing Worthy King of Kings Lord of Lords All of the Glory Let the Words of My Mouth PerfectPeace Nothing Less Than Holiness When Anyone Looks at Me Holy is the Lamb Lamb of God I Worship You It Took a Lamb Thank you Lord. Orchestration includes score and parts for Flute 1-2 Oboe English Horn (Clarinet sub) Trumpet 1-4 Horn 1-4 (Alto Sax sub) Alto Sax Tenor Sax Trombone 1-2 (Tenor Sax sub/Baritone T.C. sub) Violin 1-2 Viola (Clarinet sub) Cello Bass (Bass Clarinet sub) Percussion String Synthesizer Rhythm. Instrumentationvaries. SATB Cassette Accompaniment Trax (Split and Stereo) CD Accompaniment Trax (Split and Stereo) Orchestration Preview Pack (CD) CD 10-Pack are also available.

Over the years, the need for a new edition of Mahler's Symphony #2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerizationalso ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony #2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors have been corrected. (Reinhold Kubik, taken from the preliminary note) Oh believe, my heart, oh believe:Nothing is lost with thee!Thine is what thou hast desired,What thou hast loved, what thou hast fought for!(Gustav Mahler in the Finale of Symphony #2) / Choeur Mixte (SATB) Et Piano

Six Motets Op.169 for Mixed Chorus Based on texts by Franz Kafka and scored for mixed chorus (SATB). Ernst Krenek (1900-1991) “One need have no hesitation about designating my writing of the past ten years as dodecaphonic since the twelve tones are always in close proximity. It is atonal since it rejects tonal centers. I only occasionally employ the stricter disciplines of the dodecaphonic and serial techniques since I am more interested in a suppler writing style. I have nothing to do with new tendencies like ‘New Simplicity’ ‘Neoromanticism’ ‘Minimalism’ and so forth.” (Ernst Krenek 1989) Evenduring his lifetime Ernst Krenek who left behind an oeuvre of more than 240 works when he died at the age of 91 held quite an extreme position in music history. Because of his great versatility critics in Europe often spoke of him as constantly changing his “style of composing ” tacitly implying that a creative life must be stylistically uniform. In the United States however he was deemed the “one-man history of twentieth-century music ” a unique and nearly unbelievable fact Krenek lived up to through his creation of work that spans more than seven decades of the twentieth century from the end of the 1910s until the end of the 1980s. When taken seriously this bon mot does not refer to the temporal concordance of his works or his participation in the latest developments in music throughout his life; it rather points to his role as a twentieth-century contemporary.

Uses: General Memorial YouthScripture: Ephesians 3:20; John 16:33; Isaiah 43:2The question of “why” is often one of the most difficult questions we contend with in the face of tragedy.This song shows the journey from grief to hope redeeming the pain by reminding us the answers can all be found in Jesus. A memorable chorus crowns the work and the work ends in light celebrating the hope that nothing can take usfrom the love and grace of God. Available separately: SATB LiteTrax CD. Duration: ca. 3:13.

Par SIBELIUS JEAN. No. 4 We Ask For Nothing Rich Or Rare/ Répertoire / Choeur Mixte (SATB)

(nonsense words)-A whirlwind of bright harmonies dance pulses and syllabic play. A full-fledged theme and variations on...absolutely nothing. An addicting opener or closer to any program perfect for high school choirs and beyond.