Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum? in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum?. Here it is called 'Te Deum for Cannons? after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea?, the masque which was composed at almost the same time. Though in many respects this 'Te Deum? is reminiscent of the 'Utrecht Te Deum?, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition? (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum?./ Répertoire / SSATB et Orchestre

Diamonds Are Forever is the theme song of the seventh film in the James Bond series. The sensual lyrics of the song are voiced by Shirley Bassey, written by Don Black and set to music by John Barry. This SATB arrangement by Thomas Lydon captures the longing of the song with its luxurious harmonies and mimicry of the James Bond signature brass stabs in the piano accompaniment. / Choeur Mixte (SATB) Et Piano

Un classique American Folk Hymn prend un nouveau sens dans ce contexte Claude Bass. Ajouter l'option obligé C-instrument pour un moment poignant de la dévotion. / Choeur Mixte (SATB)

Partitions pour choeurs, solistes avec haut-bois, 2 violons et basse continue de l'oeuvre de George Fridérc Haendel: antienne #9 pour choeurs HWV 254 'O Praise The Lord With One Consent' / Chant Et Piano / Partition

Chorale settings form a central part of Telemann's oeuvre. His 1754 setting of the church hymn Christus, der ist mein Leben, based on Melchoir Vulpius' melody from the Hamburg Hymnal, is especially well-suited to display his mastery in depicting the words of the chorale. The so-called 'Ausfüllungsbass? (a vocal bass added to the principal bass in tutti passages) was probably necessitated by the acoustical properties of Hamburg's churches. This is the first Urtext edition of this highly successful chorale setting which is based on Georg Philipp Telemann Musical Works. The score contains a realisation of the continuo part. / SATB Et Piano

Par CHILCOTT BOB. for SATB and piano, with optional bass and drum kit This dynamic collection presents four jazzy settings of favourite madrigals by Thomas Morley, John Bennet, and Orlando Gibbons. The stylistic piano part may be played as written or serve as a guide, and a bass and drum kit part is available separately for trio accompaniment. / Date parution : 2022-07-23/ Répertoire / Ch?ur Mixte SATB et Piano, avec Basse et Batterie

Magnificat and Nunc dimittis. Par PURCELL HENRY. The present 'Evening Service' is one of the few works in which Pucell sets to music portions of the liturgy, whereas most of the church music of the Master consists of anthems, i. e. cantata-like compositions with biblical text. The alternative between chorus (full) and soloists (verse), so characteristic of this composition, may if necessary be replaced by contrasting large and small chorus. Soprano solo (2), Alto solo, Tenor solo, Bass solo, Mixed choir (SATB)/ Répertoire / S, SATBasse (Petit Choeur Mixte à 5 Voix) et 4 Par

Cantata for Trinity Sunday. Par BACH JOHANN SEBASTIAN. Es ist ein trotzig und verzagt Ding BWV 176 Cantata for Trinity Sunday This cantata for Trinity Sunday is the first of two such extant cantatas composed by Johann Sebastian Bach after his Leipzig appointment in 1723. This cantata is also the last in a group of nine for successive post-paschal feasts composed by Bach, apparently within a few weeks, on texts by the contempotary Leipzig poetess Marianne von Ziegler. It is scored for Soprano, Alto and Bass soloists, mixed choir (SATB), 2 Oboes, Oboe da caccia, Strings and Basso continuo. - Urtext of the New Bach Edition - Performance material (BA10176), choral score (BA10176-91) & study score format 22. 5 x 16. 5cm (TP1176) available for sale/ Répertoire / Partition de Poche

Ed. Critica Di Alessandro Borin - Ril. Brochure. Par VIVALDI ANTONIO. La Gloria e Imeneo, RV 687, belongs to a group of so-called ‘French serenatas’ by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid- 1720s of the eighteenth century in celebration of importantrecurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place in the ambassador’s garden on the evening of 12 September 1725. This critical edition is based on the autographscore held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes anapparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred – since no libretto has come down to us – by the words underlaid to the notesin the manuscript of the serenata. La Gloria E Imeneo, RV 687, belongs to a group of so-called ‘ French serenatas' by Antonio Vivaldi, namely a series of works composed and performed between the mid-1710s and mid-1720s of the eighteenth century in celebration of important recurrent and non-recurrent events relating to the Kingdom of France and its diplomatic representatives resident in Italy. This serenata was indeed commissioned from Vivaldi by the French ambassador in Venice, Jacques-Vincent Languet, Count of Gergy, on the occasion of the wedding of Louis XV to the Polish princess Maria Leszczyska, and was performed during a festa that took place inthe ambassador's garden on the evening of 12 September 1725. This critical edition is based on the autograph score held by Biblioteca Nazionale Universitaria of Turin. It also includes an Introduction that describes the genesis and the first performance of the Serenata, the state of the sources and its musical content. The critical edition includes an apparatus that records all the variants between the autograph score and the secondary collate sources, and a diplomatic- interpretative edition of the poetic text, inferred & since no libretto has come down to us & by the words underlaid to the notes in the manuscript of the serenata. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-08/ Répertoire / SATB, Violon, Alto et Basse Continue

Kantate Zum Epiphaniasfest. Par BACH JOHANN SEBASTIAN. This six-movement cantata uses the hymn of the same name by Ahasverus Fritsch, first recorded in 1698 in the Darmstädter Liederbuch. This places it amongst those chorale cantatas which use a hymn from the repertoire associated with Pietism. As was customary, the hymn text is retained in the outer movements, whereas the text for the inner movements - two secco recitatives and a tenor and a bass aria - are concerned with the contrast between the hostile world and the certainty of Jesus- the links between the cantata text and the Feast of the Epiphany are correspondingly tenuous. In the first movement the soprano sings the hymn melody complete, accompanied by mainly homophonic vocal parts, whilst the instrumental writing is largely influenced by the melody of the first line of the hymn. Remarkable is the tenor aria, with its contrasting central section and its chromatic twists and turns, in which Bach once again proves himself to be a master of harmony. The demands on the chorus are fairly modest, whereas the instrumentalists are challenged in the first movement and in both the arias./ Répertoire / Choeur Mixte (SATB) et Orchestre

With a debut at Carnegie Hall as part of the New York Pops annual holiday concert, Habari Gani celebrates the inspiring message of Kwanzaa. Drawing from the beat box style so popular in today's a cappella style singing, string bass, rhythmic bass line in the bass voice, and a cappella choral with duets over the top, this is a wonderful selection for a holiday/winter concert or anytime. / Choeur Mixte (SATB) Et Percussions

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX / LUTHER MARTIN. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. / Date parution : 1980-07-01/ Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Bassons,

Choralkantate. Par MENDELSSOHN-BARTHOLDY FELIX / LUTHER MARTIN. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach’s works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. / Date parution : 1980-02-01/ Répertoire / Choeur SATB, 2 Hautbois, 2 Clarinettes, 2 Bassons,