3 Chorale Fantasias, Chorale Variation, 6 Hymn Settings. Par PRAETORIUS MICHAEL. Michael Praetorius (1571-1621) a seulement atteint l'âge de 50 ans, mais a laissé une remarquable richesse des compositions et des traités. D'un point de vue musicologique, il prend une fonction centrale comme médiateur entre la tradition allemande bien établie de la musique d'église protestante et le nouveau monodique, style concertante de composition italienne au début du XVIIe siècle. Après sa formation musicale apparemment self-instructed, il a conclu son premier emploi comme organiste à St. Mary à Francfort/Oder en 1587 et plus tard à la Cour de l'évêque amoureux de la musique de prince Henry Jules de Brunswick-Wolfenbüttel. Après la mort de ce dernier suivi instables et énergie-sapement ans. Musique d'orgue des Praetorius couvre exclusivement cantus firmus : trois fantaisies choral qui fascinent par leur variété de style, une paire de variations avec une technique de figuration riche et les modalités de leur composition novatrice hymn six. Vis-à-vis du style, son oeuvre est enracinée dans le traditionnel allemand org.../ Répertoire / Orgue

Par MAW NICHOLAS. Morning Hymn, Pastoral Hymn and Evening Hymn: Extending the British choral tradition in a challenging, yet approachable way, Nicholas Maw's potent settings are a thrilling sing for competent choirs./ Recueil / Voix Mixtes

The text of Susanni is a translation of Martin Luther's hymn of 1535, Vom Himmel hoch . The music is based loosely upon the well-known chorale melody, which, at times, is quoted in full in both voices and organ. Except where indicated, singers should adopt a legato style, especially in the repeated quaver patterns. In the bars which appear to be in compound time, conductors should beat in crotchets. 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. Bill Ives has spent his life in choral music - as a singer, conductor, teacher and composer (writing as Grayston Ives). He was a chorister at Ely Cathedral and later studied music at Cambridge, taking composition lessons with Richard Rodney Bennett. After Cambridge he sang in Guildford Cathedral Choir before joining the King's Singers, with whom he recorded and performed worldwide. For eighteen years he directed the Choir of Magdalen College, Oxford. During his tenure the choir earned a Grammy nomination for a disc of music by Orlando Gibbons, and gave the première of Paul McCartney's Ecce Cor Meum, written especially for them. In 2008 his work as a composer and conductor of church music was recognised with the award of a Lambeth DMus and a Fellowship of the Royal School of Church Music. / Choeur SATB Et Orgue

Herbert Howells's Magnificat and Nunc Dimittis for the Gloucester service is one of his most popular choral settings. This sheet music is arranged for SATB Choir and Organ.Herbert Howells was a renowned English composer of church music in the Anglican evensong tradition, best known for his 'Hymnus Paradisi' and as a teacher at the Royal College of Music. His lesser-known evening canticles include this piece: with its famous treble duet opening the work, it calmly progresses to an affirmation of the glory of heaven through distinctive Lydian harmony and soaring highs. Each individual voice has its own part to play in this piece, with melodies that rise to uplifting highs and fall to booming lows, the combination of voices blends and binds to create a gliding and soaring unity of harmony. This Magnificat and Nunc Dimittis sheet music is the most accurate transcription available of an awe-inspiring piece that is acclaimed by fans of choral music for its beautiful composition and wondrous voicing. / Choeur Mixte (SATB) Et Orgue

Par SCHNEIDER ENJOTT. Cette collection de dix-huit chorals arrangements de mélodies du livre hymne Protestant est destinée à être utilisé dans les services et les concerts de peu. Plutôt varié à l'approche de composition des arrangements individuels, la collection, comme une sorte de sélection informatif, montre les différentes possibilités de la façon de traiter avec une mélodie tonale dans pluralisme post-moderne. Les tendances stylistiques présentés peuvent être facilement longues et transférés à d'autres chorals dans le but de l'exercice d'improvisation, qui sert à l'aspect éducatif de ce livre d'orgue./ Méthode / Orgue

Arr. Philip Sparke. Par REGER MAX. During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op. 135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation, sound and balance. / Niveau : 2.5 / Hymnes et chorals / Répertoire / Fanfare

Of Noblest Cities is intended for a choir of between 12 and about 40 voices, although it may also be given by just six singers, one to a part (SSATBB). The piece can be performed unaccompanied, if no suitable organ is available, simply by leaving approximately two crotchet beats of silence between the end of the last note of one verse and the beginning of the next. Underlying the melody is a simple rhythm which is sometimes expanded or contracted. In the first verse the position of the main beats in this rhythm is made clear by the barlines. In the remaining verses, however, the barlines are only there to help the singers to keep together, and for convenience in rehearsal: singers should observe their own strong beats, which fall in different places for each part, and not regard the barlines as indicating downbeats. A few of the strong beats which underlie individual parts and appear to be contradicted by the barlines are marked by the symbol / . The words are a beautiful Victorian translation of a Latin hymn by Prudentius, which meditates on the story of the three wise men. Each verse is set to the same melody, in an increasingly rich counterpoint inspired by the wonderful sound of Tudor choral polyphony. 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. Jeremy Thurlow is a composer, writer and pianist. His music has been described as 'seductive, innovative, full of freshness' by Henri Dutilleux. It has been performed by the BBC Philharmonic, the Fitzwilliam String Quartet, Rolf Hind, the BBC Singers, Endymion, Carmen Elektra, Peter Sheppard Skaerved, Matthew Schellhorn and Sequitur (New York), among others. In 2007 he won the George Butterworth Award for new composition. As a musicologist he writes on French music in the twentieth century. His book on composer Henri Dutilleux is published in French by Millénaire III, and he has written and broadcast on the music of Messiaen and many other 20th-century composers, frequently appearing on Radio 3's CD Review / Choeur SSATBB Et Orgue

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse

Par LACHNER FRANZ. 2nd version: Arrangement for Soli SS and upper strings 2 Vl, Va, Vc, Cb] Among his compositions, Franz Lachner, the long-serving Music Director of the Court of Munich and Director of the Royal Choir, left behind a considerable number of sacred works, including two settings of the Stabat Mater. The first Stabat Mater, op. 154, from 1856 was limited to a purely vocal ensemble [CV 70. 037]; the second, op. 168, from 1870 included strings and organ, in which the darker timbre was achieved through the absence of the violins. In its harmonic expression the second composition is especially oriented towards the, at that time, modern style of the North German School centred around Lisztand Wagner, but without ever exceeding a moderate degree of technical difficulty in the voice parts. / Hymnes et chorals / Répertoire / Solistes SS, 2 Altos, 2 Violoncelles, Contrebasse