Over the Rainbow is a standard that has become forever associated with its most famous interpreter, Judy Garland. Her troubled adult years only added poignancy to her guileless interpretation of the song, preserved on celluloid in The Wizard of Oz when she was seventeen. The song would also do something similar for Eva Cassidy whose 1992 version brought her posthumous fame almost a decade later. Arranged beautifully by Christopher Hussey for SATB choir with Piano accompaniment, this anthem of hope has not lost its bitter-sweet yearning. / Choeur Mixte (SATB) Et Piano

Set Fire To The Rain has a fantastic Piano accompaniment, strong, thick harmonies and bold unison parts. and nbsp - A setting of thesong from Adele's second studio album 21 arranged for SATB Choir and Piano arranged by Christopher Hussey. This is the perfect song for an overwhelming concert finale or to create a striking centre-piece for a dramatic choral programme. / Choeur Mixte (SATB) Et Piano

Glee Volume 1 est une collection d'excitinf de trois chansons, rendu célèbre par le hit show tv _ voyage Don't stop believin, Don't rain on my parade de la fille drôle musicale du film et d'I ' ll Stand par vous par les prétendants / TV, Film, Comédie musicale / Feuillet / SATB

Par BLACKWELL-CARTE. Une anthologie de 17 arrangements sophistiqués de chansons populaires classiques. La collection comprend des numéros accompagnés et non accompagnés, dans une variété de styles: blues enfumé, up-tempo SCAT, le swing sentimental, exubérante Dixieland, sophistiqué gros harmonie, plus une opulente show-bouchon ou deux. Andrew Carter est né en 1939 dans une famille de Leicestershire tour et sonneries clochette. Après un diplôme en musique à l'Université de Leeds, il rejoint York Minster Choir, et a ensuite été directeur de la musique au lycée Bar Convent, où il a obtenu ses premiers succès en tant que formateur choeur. Sa richesse d'expérience de diriger des choeurs à la fois à voix mixtes et supérieure-voix lui a donné une compréhension profonde de la voix, exprimées par un lyrisme et son sens du drame sous-tendue par distinctifs, souvent doux-amer des harmonies. Sa vaste collection d'hymnes et de chants de Noël, avec un nombre important de grandes oeuvres chorales, lui ont valu une réputation comme l'un des plus respectés de Grande-Bretagne contemporaine de compositeurs chorale. David Blackwell a étudié la musique à l'Université d'Edimbourg, depuis quand il a poursuivi une carrière dans l'édition musicale, d'abord à ABRSM, où il devient directeur de la rédaction, puis à Oxford University Press, où il est maintenant chef de l'édition de musique. Il est co-éditeur de OUP In the Mood: 17 Jazz Classics pour les Chorales et chants de chorales d'5, et a publié un certain nombre de dispositions simples chorale. Il est co-auteur avec son épouse primés de la série OUP cordes, violon / alto / violoncelle Temps, qui ont remporté deux fois le prix MIA pour la meilleure publication pour l'éducation Kathy./ Recueil / Chant

Par KNORR IWAN. Dans les Ukrainian Love Songs d'Ivan Knorr, le chant à quatre voix avec piano correspondent aux Liebeslieder-Walzern op. 65 de Johannes Brahms. On peut les comparer en termes de qualité de composition. Inspiré par la tradition des Cosaques ukrainiens, ce cycle en neuf parties séduit par la combinaison attrayante de voix dirigées par des paroles lyriques et romantiques et par un accompagnement au piano virtuose et fougueux. Les textes parlent d'amour passionné, de guerriers héroïques et d'attentes anxieuses. - pour choeurs de toute taille ou quatuor vocal - première édition moderne basée sur la première édition de 1890 - avec une préface de Jochen Stankewitz, chef de choeur allemand, professeur et animateur d'ateliers - avec les textes en allemand et en anglais/ Répertoire / SATB et Piano

Threshold of Night (a setting one of Kathleen Raine's Three Poems of Incarnation) was commissioned by St John's College, Cambridge and was premièred under the direction of David Hill in the College chapel on 25th November 2006. Written for Advent, the work aims to highlight the yearning that all societies have, in their time of need, for guidance from beyond their community. By coincidence, however, this composition was completed on the eve of 29th August 2006, one year after Hurricane Katrina, one of the deadliest in the history of the United States, made landfall in Louisiana. Looking at Raine's words in this context ('Go back, my child, to the rain and storm', 'I will not go back for sorrow or pain'), the poem can be seen to echo the conflicted and anguished thoughts of displaced New Orleanians. The original Advent sense ofdesired guidance takes on a specific, if unintentional, significance with regards to the tragic outcome of that hurricane - this is emphasized by the bluesinflectedharmonies found throughout Threshold of Night . / SATB

These well-known words seem endlessly fruitful for the composer and conjure up such lovely images which strike each of us in our own way. For me it was the beauty of the language with its flower imagery which made me want to set the words with richly warm harmony and to temper that with gently imitative refrains. The important element in approaching the performance of this carol is the blend and balance of voices. With divisi writing and characteristically colourful harmonies, it is important that each note in the texture is given equal weight. It is also desirable that the tempo should be flexible and that phrase ends should be given a little time, especially at those moments marked either with a comma or tenuto. The final section starting with the upper voices should be ethereal and when the tenors and basses join they should do so gently to balance the upper parts. The bulk of the carol should be conducted in a minim beat, as indicated by the 2/2 time signature. Subdivisions should only be necessary at rallentandos. The piece should flow freely. 3/4 bars can be conducted in one to continue to encourage the carol's flow. Recommended recording: Come out, Lazar - The shorter choral works of Paul Spicer (Regent REGCD280) by The Chapel Choir of Selwyn College, Cambridge, directed by Sarah MacDonald. / Choeur Mixte (SATB) A Cappella

Cinq mouvements pour choeur mixte de travail a cappella avec divisi mutiple et semi-refrain.Un réglage d'un poème de Michael Roberts Symmons (en anglais) avec le texte latin de la messe et une rime en anglais traditionnels. Co-commandé en 2006 par l'Ensemble Vocal Contemporain Université de l'Indiana, ZaterdagMatinee, le Three Choirs Festival et Soundstreams Canada.Enregistrement: BIS SACD 1719, par Pays-Bas Radio Choir, dirigé par Celso Antunes.'La musique elle-même a été une révélation: un mélange hypnotique d'éléments traditionnels et contemporains ... un vaste chorale de chants et de chuchoter, de crier et de parler, de siffler et de contrôler les lignes disparates afin qu'elles merveilleusement fusionnées ... Le co-créateur de Sun-Chiens était poète britannique Michael Roberts qui Symmons adresses symboliques et mythiques de théologie. Les chiens, les mendiants, les soleils et les étoiles se transforment en métaphores ... Le tout réglé sur les oreilles, comme par magie ... 'Indiana Herald-Times.Convient pour les chorales de pointe standard. / Choeur Mixte (SATB) A Cappella / 48 pages / niveau : Difficile / Partition

Le Drei Sonette (Trois Sonnets) ont été parmi les dernières oeuvres de leader compositeur d'après-guerre de l'Allemagne, Hans Werner Henze (1926-2012), les réglages de mots de théologien et poète Christian Lehnert (né en 1926). Le jeu est une adaptation par le compositeur de refrains entendus à l'origine dans sa pièce de théâtre musical Gisela!, Créé à Dresde en 2010. / Choeur Mixte (SATB)

There is no rose of such virtue is an anonymous mediaeval text, already well known through beautiful settings by Britten (in his Ceremony of Carols), John Joubert and others. The poem is 'macaronic' (it presents a verse in English, followed by a varying Latin refrain). This new version follows the illustrious examples above by remaining strophic and presenting broadly the same music in a succession of slightly different guises. The first verse is a straightforward four-part setting, the second gives the melody to the tenors and surrounds them with hushed, wordless writing for the other parts, and the third explores a freely canonic relationship between the tenor and soprano lines before carrying the previous verse-endings to a higher, more exalted pitch and mood. The fourth verse then expands its texture in a free climactic passage evoking the songs of praise sung by the angels. This subsides towards the final verse, where the texture of the music attenuates again to four parts, and canonic writing (based on the first four notes of the original melody) permeates all of them. This slightly extended statement leads to a hushed final cadence. Francis Pott (b. 1957) began musical life as a chorister at New College, Oxford. He held open music scholarships at Winchester College and at Magdalene College, Cambridge, where he studied composition with Robin Holloway and Hugh Wood while pursuing piano studies privately in London with the distinguished British artist, Hamish Milne. Throughout the 1990s Francis was John Bennett Lecturer in Music at St Hilda's College, Oxford, and a lay clerk in the Choir of Winchester Cathedral. In 2001 he became Head of London College of Music, University of West London, later leading research across the University's Faculty of Arts and acceding in 2007 to its first Chair in Composition. Francis Pott has become recognised particularly for his sacred choral and organ music. This has been performed in concert and on radio in over three dozen countries worldwide, published by four major UK houses and released extensively on CD. Winner of four national composition awards, in 1997 he received first prize in the piano solo section of the S. S. Prokofiev Composing Competition, Moscow. In 2006 and 2011 he was a nominated finalist in the BASCA/BBC Annual Composer Awards. In summer 2012 he was winner of the international composing competition of the Cheltenham Festival, which sought new piano variations on the arioso song Bist du bei mir, well known in the arrangement by J. S. Bach. Francis lives with his wife and two children on the outskirts of Winchester. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. / Choeur Mixte (SATB)

Par LIST HELGA MARIA. This collection contains 33 new children’s songs for ages kindergarten through third grade. The collection is designed to appeal to children in all age groups, as is especially indicated in the table of contents. Musically the songs – many with refrains and suggestions for playing games – are ideal for children and are similar to folksongs. The songs encompass a wide range of themes, including animals [dinosaurs too], games, fairy tales, stories, the body and the senses, living, hiking, the circus, songs with gags which can be performed . . . . The cheerful tone throughout these songs finds its counterpart in the rich, colourful illustrations. A true picture book./ Répertoire / Choeur Mixte

A triumphant fanfare motive is echoed across the choir before breaking into a joyous refrain, punctuated with rhythmic handclaps. Suitable for concert, festival, and church use, this celebratory choral features optional parts for trumpet and snare drum. / Choeur Mixte (SATB)

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 Mixte (SATB)

The ' Messe de Requiem? is probably the internationally best-known and most frequently performed work by Gabriel Fauré . The composer's first version was limited to just five movements and small-scale forces with low strings, harp and organ. The work was then expanded several times culminating in the version for large orchestra of 1900. This orchestral version forms the basis of this edition.Despite its comparatively long period of gestation, the Requiem forms a stylistic unity. Unlike other requiem settings, the composer foregoes any theatrical gestures in this work. A restrained dynamic range together with graceful melodic writing for both soloists and choir give the work a gentle and optimistic character.The choral score just as the vocal score are based on the volume of the Complete Works of Gabriel Fauré (BA 9461) published in 2010. It is important to note that this choral score is also compatible with the first small-scale version as well as the second chamber orchestra version.- High-quality Urtext edition based on the 'Complete Works of Gabriel Fauré?- First systematic evaluation of all sources- Based on the large orchestral version of 1900- Choral score suitable for all versions of the Requiem / Choeur Mixte (SATB)