Par PARRY BEN / L'ESTRANGE A.. Music For Special Occasions brings together 10 secular choral works in on volume, carefully selected to cater for a wide variety of performance contexts - whether joyful, reflective, or commemorative. Practically and flexibly arranged for Soprano and Baritone or Low Alto, this unique collection of best-loved classics and new pieces is a must-have resource for all school, community and church choirs./ Recueil / Voix Mixtes

Par PARRY BEN / L'ESTRANGE A.. UNE EXCELLENTE OCCASION DE COMMANDER PLUSIEURS EXEMPLAIRES À A SIGNIFICATIVEMENT REDUIT PRIX - UNE ECONOMIE DE £ 1,00 PAR COPIE. Cette collection de musique pour des Occasions spéciales rassemble dix oeuvres chorales de secualr d'améliorer toute occasion joyeuse, réfléchissant ou commémorative. Certaines pièces plus aimés ainsi que de nouvelles compositions sont soigneusement sélectionnées et éditées par acclamé compositeurs/chefs de choeur Ben Parry et Alexander L'Estrange. Il s'agit de dispositifs pratiques et flexibles pour soprano et alto avec une troisième partie facultatif pour baryton gamme limitée ou alto faible rendant approprié pour les écoles, communauté et églises chorales./ Recueil / Voix Mixtes

One hundred and one chansons pour les parties, les mariages, les anniversaires, les Noël et les autres occasions spéciales. / Chant Et Guitare / Partition

Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Par BACH JOHANN SEBASTIAN. All of Bach ’s six authenticated motets were written between 1723 and 1727 for St Thomas’ Church, Leipzig, where Bach was appointed as director of music in 1723. During this period, Bach composed most of his cantatas, and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition, reserving his own motet compositions for special occasions. Four of his six motets were written for the funeral services of prominent members of the St Thomas’ congregation. Jesu, Meine Freude (BWV 227), the longest, most musically complex and earliest of the six, was written in 1723 for the funeralof Johanna Maria Käsin, the wife of Leipzig’s postmaster. Jesu, Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir, by J. S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer’s original intentions and includes thoroughly detailed editorial markings and suggestions, as edited by Konrad Ameln. Urtext of the New Bach Edition Performance material and choral score (BA5132) available for sale Complete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90), choral score (BA5193) / Mottet / Répertoire / Choeur Mixte (SSATB) et Instruments Ad Libitum

Par BACH JOHANN SEBASTIAN. All of Bach ’s six authenticated motets were written between 1723 and 1727 for St Thomas’ Church, Leipzig, where Bach was appointed as director of music in 1723. During this period, Bach composed most of his cantatas, and it seems likely that for ordinary Sunday services he used existing motets from the seventeenth century tradition, reserving his own motet compositions for special occasions. Four of his six motets were written for the funeral services of prominent members of the St Thomas’ congregation. Jesu, Meine Freude (BWV 227), the longest, most musically complex and earliest of the six, was written in 1723 for the funeralof Johanna Maria Käsin, the wife of Leipzig’s postmaster. Jesu, Meine Freude BWV 227 is a beautifully constructed motet for five-part mixed choir, by J. S. Bach. This Urtext edition provides you with a clear and accurate realisation of the composer’s original intentions and includes thoroughly detailed editorial markings and suggestions, as edited by Konrad Ameln. Urtext of the New Bach Edition Performance material and choral score (BA5132) available for sale Complete edition of the 6 Motets Vocal score with Piano reduction (BA5193-90), choral score (BA5193) / Mottet / Répertoire / Choeur Mixte (SSATB) et Instruments Ad Libitum

Le théâtre musical Essentials série représente la sélection finale des chansons de la scène. Les volumes sont disponibles pour soprano, mezzo-soprano, ténor et baryton / basse, avec ou sans CD d'accompagnement. Listes de chansons uniques sont fournies dans les livres pour chaque gamme vocale, y compris le présent volume pour mezzo-soprano.Nouvellement édités et gravés avec la ligne vocale et accompagnement au piano, les deux Mezzo-soprano volumes de la série Essentials Théâtre Musical de fournir une occasion en or pour célébrer la musique de la scène, contenant des chansons de comédies musicales classiques et modernes tels que: Cabaret, Evita, Guys Poupées et, Mamma Mia! et Les Misérables. / Mezzo-Soprano Et Piano

This new collection of folk songs - 'Laula kultani' (Finnish for 'Sing, my sweetheart') - offers choirs attractive literature to expand their repertoires and to perform concerts for many different occasions. The creative choral director has many possibilities for performing this music: thus instruments can be added, or - if there are difficulties due to pronouncing a foreign language - a small ensemble can sing the song, while the remainder of the choir hums the music in the background. The selected songs about themes of love and love's sorrow, dance, festival and celebration, are traditional folksongs which are well-known and popular in the countries of their origin. In puttingtogether this collection special emphasis has been placed on the musical quality of the settings. In addition to traditional settings, many songs in new arrangments by contemporary composers have been included. The settings range in difficulty from easy to moderately difficult. / Musique traditionnelle / Répertoire / Choeur

This new collection of folk songs - 'Laula kultani' (Finnish for 'Sing, my sweetheart') - offers choirs attractive literature to expand their repertoires and to perform concerts for many different occasions. The creative choral director has many possibilities for performing this music: thus instruments can be added, or - if there are difficulties due to pronouncing a foreign language - a small ensemble can sing the song, while the remainder of the choir hums the music in the background. The selected songs about themes of love and love's sorrow, dance, festival and celebration, are traditional folksongs which are well-known and popular in the countries of their origin. In puttingtogether this collection special emphasis has been placed on the musical quality of the settings. In addition to traditional settings, many songs in new arrangments by contemporary composers have been included. The settings range in difficulty from easy to moderately difficult. / Musique traditionnelle / Répertoire / Voix Unison

for trombone and electronics. Par HARVEY JONATHAN. In Ricercare una melodia, an ingenious work for solo instrument and tape delay from the mid 1980s, Jonathan Harvey takes the literal meaning of Ricercare – ‘to seek’ – as the inspiration for its structure. It unfolds as two fivepart canons – the first frenetic, twittering and rowdy, the second (where the canon is progressively augmented) more luminous and contemplative. A characterful and concise masterpiece from one of the visionaries of Electro- Acoustic Music. In Ricercare una melodia, an ingenious work for solo instrument and tape delay from the mid 1980s, Jonathan Harvey takes the literal meaning of Ricercare – ‘to seek’ – as the inspiration for its structure. It unfolds as two fivepart canons – the first frenetic, twittering and rowdy, the second (where the canon is progressively augmented) more luminous and contemplative. A characterful and concise masterpiece from one of the visionaries of Electro- Acoustic Music./ Recueil / Piano, Chant et Guitare

Arch Gwyn (Arranger). Par ARCH GWYN. Gwyn Arch presents some hot and spicy choral arrangements of five classics of Latin America, written specially for SSA chorus and guaranteed to thrill and delight at any occasion! The pieces include Sloop John B , Guantanamera and, of course, Jobim's much-loved Girl From Ipanema . Full Piano accompaniments are included where required. Add a funky dash of sunshine to your choral repertoire! / Niveau : Assez Facile / Feuillet / SSA