after Gregorio Allegri's Miserere-The Lost Labyrinth (Le labyrinthe disparu) exprime la persévérance des chercheurs et les grandes attentes suscitées par le déchiffrement futur des hiéroglyphes. La référence à l?émouvant psaume Miserere de Gregorio Allegri symbolisecette la quête. Les transformations contemporaines du psaume constituent le leitmotiv de l?oeuvre qui unit le passé et le présent.

MacMillan's setting of Psalm 51: 3-21 a penitential text famously set in the 17th century by Gregorio Allegri. Composed in 2009 for The Sixteen and their conductor Harry Christophers MacMillan's work is scored for a single choir with divisi and soli in each voice-part and also chanted passages in close harmony for male and then female voices. Suitable for advanced standard choirs.

Psalm 51-Adapted and arranged for English use by Ivor Atkins. Organ for rehearsal only.

The Top Ten Most Beautiful Pieces To Play On Piano is part of a series that has been specially designed to help pianists of all levels to find the repertoire they really want to play. Featuring some ofthe world's greatest pieces of music from a variety of different genres the 'Top Ten' series contains music for everyone. Whether you're a beginner who wants to know the best classical pieces to learn or a more experiencedplayer looking for the ultimate Piano songs to add to your repertoire we have a 'Top Ten' for you! Each piece comes with interesting background notes to give you that extra bit of insight. The Top Ten MostBeautiful Pieces To Play On Piano brings you the most stunning musical outpourings offered by composers over the last 300 years. Lose yourself in heart-rending melodies by Beethoven Elgar and Debussy. Thiscollection contains Barber's Adagio For Strings Handel's Lascia Ch'io Pianga from Rinaldo HWV 7 Richter's On The Nature Of Daylight/Written On The Sky Einaudi's Nuvole Bianche and more.

Brought together for the first time, a comprehensive collection of timeless choruses newly engraved in recent editions from the historic Novello series of vocal scores. For programming festivals, concerts, celebrations or just run-through practice for the choral society, events can be organised at last from a single volume of classics without the need for the singers to carry scores of any number of oratorios or motets. Includes introductory notes by Brian Kay. / Chant Et Piano